英语专业的毕业论文
Since Mo Yan received the Nobel Prize in literature in xx, the translator, Howard Goldblatt has drawn an increasing attention from all over the world. However, scholars only focus their attention on a small part of Howard Goldblatt’s translation. In recent years,
quantities of studies have been made on the English version of Red Sorghum 《(红高粱》) and Wolf Totem (《狼图腾》), while studies on Goldblatt’s first translation on Chinese literature, Tales of Hulan River, is relatively few and limited.
The existing researches are conducted mainly from the perspective of culture, adaptation and selection, stylistics, etc. It is found that there are two articles examining the English translation of the Hulanhe Zhuan using postcolonial translation theories. The authors only focus on one aspect of postcolonial translation theories, hybridity. However, it’s safe to say that Goldblatt, as a translator from the strong culture, is influenced by the power differential and his translation, in some way, represents cultural hegemony. Therefore, a deeper analysis through probing into two aspects of postcolonial
translation theories, the power differentials and hybridity is of great necessity.
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Postcolonial theory, which grows up and attracts the world’s attention in 1970s, mainly focuses on power and identity, criticizes cultural hegemony, introspects the plicated relations in the colonial systems and investigates the influence of colony to the present world. The postcolonial translation theory, established in the postcolonial critical context, is a series of research methods on translation.
Guided by this theory, this thesis tries to carry out a study on the postcolonial features in the English version of Hulanhe Zhuan and the translation strategies adopted by the translator through probing into specific examples from two angles of power differentials and hybridity. Just as Theo Herman holds that translation study is “an inter play of theoretical models and case studies” (Herman, 1985: 9), this thesis is based on both theory and case studies. Based on the examples collected from both the Chinese version and English version on linguistic and cultural levels, this thesis explores a qualitative-based investigation under the guidance of postcolonial translation theory and its application in the translation of Hulanhe Zhuan.
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Chapter 1 Literature Review
1.1 Previous Studies on Hulanhe Zhuan
英语专业论文题目Since Hulanhe Zhuan came into being, it has attracted a lot of scholars devoting their studies to this novel. Particularly after 1980s, more and more studies on this novel have been carried out from varied angles. First, many domestic scholars focus their studies on the artistic features of Hulanhe Zhuan. Zhang Guozhen (张国祯, 1982), in his A Lyric Symphonic Poem of National Sorrow and Native Life—A Review of Hulanhe Zhuan, points out that enriched symbolism and lyricism are two essential methods of the novel.
In Dramatic Irony—On the Unique Qualities of Writing Style of Xiao Hong’s Novels, Ai Xiaoming (艾晓明, xx) writes in detail about the stylistic features of Hulanhe Zhuan to reveal the dramatic irony in this novel, and he also emphasizes the dramatic irony must be paid enough attention to. Wen Guiliang (文贵良, xx), in his Literary Chinese and Generation of Their Meaning in Hulanhe Zhuan, studies the features of Xiao Hong’s language.
He tries to find out how can these literary Chinese words give readers a sense of solitude that perates the flesh and blood to the bone. Based on this, Wen holds that Xiao Hong’s language, on one hand, ca
rries on the
tradition of vernacular Chinese, and on the other hand,
creates Xiao Hong’s own feature. Zheng Li (郑莉, xx), in her Unique Expression of Compassion and Understanding—A Brief Comment on Text Characteristics of Xiao Hong’s Novel Hulanhe Zhuan, focuses on how Xiao Hong uses her special expressive ability to create and plete Hulanhe Zhuan whose style is among novel, prose and poem. Zheng Li carries out her study on such aspects as the creative structure, the poetic language and the repetitive lyric art.
Other scholars, for instance, Xu Huihui (徐慧慧, xx), Ye Yunjia (叶云佳, xx) and Li Jun (李钧, xx) attempt to study Hulanhe Zhuan from the perspective of aesthetics. Lu Zhining (卢志宁, xx), Zhang Liwen (张丽文, xx) and Wang Ke (王科, xx) examine how Xiao Hong presents a sense of solitude and misery in her Hulanhe Zhuan.
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1.2 Previous Studies on the English Version of Hulanhe Zhuan
Compar ed with the researches devoted to Xiao Hong’s Hulanhe Zhuan, the number of research paper
s on its English translation by a famous sinologist, Howard Goldblatt, is paratively small. Some foreign scholars make some ments on Howard Goldblatt’s translation of this novel since its publication. In his translation, Goldblatt tries his best to transfer the charm of the original text. However, some target readers can’t fully appreciate the style of this
novel. It is posed of trivial events and short, slow-pace and prose-like sentences and therefore, it’s quite different from the traditional Chinese novels. Theodore Huters’s (1981) ments on the translation of Hulanhe Zhuan are like this, “It must be admitted that the constant reiteration of trivial acts in Tales of Hulan River requires just such virtuoso technique to keep from sliding into outright tedium.
Though Goldblatt is an excellent translator, he cannot always replicate the intricate prose rhythms of the original.” However, some scholars appreciate Goldblatt’s selection of Xiao Hong’s novel and his translation. D. E. Pollard (1981) speaks highly of Goldblatt’s translation of Hulanhe Zhuan. He deems it as an excellent selection of works for translation, and a brave and generally suessful try at execution. He sa id, “It is not only aurate, but positively pleases at times as an example of good writing in English.” (Pollard, 1981) As for the language in the English version of Hulanhe Zhuan, Joe C. Huang (1980) points out in his review in The China Quarterly that the translator has been both sensitive and faithful in his grappling with Xiao Hong’s extraordinary writing style punctuated with north-eastern diale
ct.
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