目論視角下自譯研究報(bào)告

1、-. zSelf-Translation Based on Skopos TheoryA Case Study of Eileen Changs The Rouge of the NorthAbstact (English)Eileen Chang, a famous women writer, is also an e*cellent translator, which is rarely known to people. The dual role as the writer and the translator makes her get better understanding of

2、source te*t and enjoy more freedom when translating. Such a special kind of translating is self-translation, which has not yet got too much attention in our country. The special identity of self-translator provides translator with the right and freedom to choose much more diverse ways when translati

3、ng, which definitely contributes to the quality of translation. The paper selects Eileen Changs self-translating novel, The Rouge of the North, as a case to study the translating skills it adopts from the perspective of skopos theory. Through paring the distinction between source te*t and target te*

4、t, the paper summarizes the translating skills inside. Such translating method centered on targets gets further discussed based on the three rules of skopos theory-skopos rule, coherence rule and fidelity rule. When translating, the translator takes targets e*pectations into consideration and decide

5、s on specific translating approaches according to the conte*t. Briefly, the paper studies self-translation in the light of skopos theory and aims to master relevant approaches, in the hope to give some guidance to self-translation. Keywords self-translation skopos theory skopos coherence fidelityAbs

6、tact(Chinese)愛玲是一位知名女作家，卻鮮有人知道她也是一名優(yōu)秀的翻譯者。原作者以及翻譯者的雙重身份使她對(duì)原文本有著更好的理解，翻譯時(shí)也能享有更多的自由。這種特殊的翻譯現(xiàn)象自譯，在國并沒有受到太多的關(guān)注。自譯者特殊的身份決定其可以選擇多樣化的翻譯方式，以到達(dá)更好的翻譯效果。本篇論文選取愛玲自譯小說?怨女?為個(gè)案進(jìn)展研究，以目的論作為理論框架，探討其使用的翻譯策略。通過比擬?怨女?中、英版本的差異，本論文歸納總結(jié)出其中出現(xiàn)的的翻譯技巧。基于翻譯目的原則、連貫原則、忠實(shí)原則，進(jìn)一步探討這種以受眾為中心的翻譯方法：譯者按譯入語承受者期待的方式進(jìn)展翻譯，并結(jié)合給定的翻譯語境決定采用何種翻譯方

7、法。簡(jiǎn)而言之，本論文從目的論視角進(jìn)展自譯研究，旨在掌握自譯方法，以期為類似翻譯提供借鑒。關(guān)鍵詞 自譯 目的論 目的原則 連貫原則 忠實(shí)原則ContentsIntroduction Self-translation is a special kind of translating activity. In the course of self-translating, the self-translator plays the dual role of both writer and translator, which fundamentally endows him much more fre

8、edom than other translators. And as the writer of source te*t, it is certain that the translator has no difficulty in understanding the content. However, this thesis has not yet got as much attention as it deserves in our country. Given there are many ways to study translating, the paper specially p

9、ick up a perspective-skopos theory, to carry on further analysis. In chapter one, the paper will have a brief introduction of self-translation and skopos theory; In chapter two, the focus will be on the chosen novel, The Rouge of the North, as well as some other studies on it; In chapter three, the

10、author will discuss about the specific translating skills adopted in the novel based on skopos theory.Chapter One Literature Review1. 1Research Background of Self-translation The Definition of Self-translation Self-translation is a special kind of translating activity, with a history of more than tw

11、o thousand years. Chen Jirong announces, based on its translating property and particularity, self-translation is one kind of translating activity of special strategy and process conducted by the writer, also involving the result of translating. The writer translates his or her works into another la

12、nguage, during which the te*ts topic should be accurately e*pressed and at the same time, the dual conte*t and the literary continuity should be taken into consideration.(Chen Jirong, 2021) Studies on Self-translation Abroad Despite self-translation has a long history in the west, it is difficult to

13、 trace back to its very beginning. Hokenson & Munson is the first to clearly divide its history into three stages which sequentially are the medieval and renaissance age(1100-1600), the modern times(1600-1800), and the contemporary period. In the west, the self-translation is mainly based on the per

14、spective of bilingual writing, such as Fitchs study on the position of bilingual writing which discovers the relation between bilingual te*ts.(Li Changbao, 2021) Studies on Self-translation in ChinaSelf-translation starts late in China, getting most popular in the period of modern and conteporary li

15、terature. And self-translating activity was mainly conducted by famous writers with great bilingual ability, such as Lin Yutang, Pai *ianyong, *iao qian and so on. Domestic study on self-translation, different from relevant study abroad, is of much more diverse perspecttives. For e*ample, Zhao *iaoh

16、ui has studied Eileen Changs self-translation in the light of acception aesthetics.1.2 Theoretical foundation: Skopos Theory The formation and development of skopos theorySkopos theory has e into being since the late 1970s, which was initially proposed by Hans Vermeer, a German functionalist transla

17、tion theorist. This kind of translation theory has gone through three stages for development. In the first stage, Katharina Reisss study laid foundation for the formation of self-translation. In 1971, Reiss published Possibilities and Limitations in Translation Criticism in which the te*tual functio

18、n was taken as the standard of translation criticism for the first time. She thought that translators should give priority to the functional features of translation rather than the equivalence principle. In the second stage, Vermeer established skopos theory, the core of which is that both translati

19、ng methods and strategies should be determined by translations intended purpose or function. In the third stage, Justa Holz Manttari and Christiane Nord further developed the theory. And the former laid emphasis on studying translating process, the role of participants and the whole translating cont

20、e*t while the latter proposed the principle of function and fidelity for supplementation.(Tang Yujie, 2021) Three principles of skopos theorySkopos theory totally contains three items which seperately are skopos, coherence and fidelity. Skopos is the fundamental one that decides the whole process of

21、 translation, including the basic purpose of translator, the municative purpose of translation as well as the goal particular translating strategies aims to reach. The principle of coherence requires translation should meet the standard of interlingual coherence, be understandable to readers and hav

22、e real meaning in municative conte*t. The principle of fidelity means that translationshould be intergually consistent and royal to source te*t. Furthermore, the purpose and translators understanding of translation decides how faithful the translation should be to source te*t. In summary, the pricip

23、le of fidelity should be secondary to the priciple of coherence, and both the two should be secondary to the principle of skopos.(Tang Yujie, 2021)Chapter Two. Eileen Chang and Her Self-translating The Rouge of the North2.1 Eileen Changs translating lifeEileen Chang began her translating life since

24、1950s, which initially was just for economic reasons. She was employed by the intelligence agency, taking charge of the translation of some American classical works.(Wu Yanhua, 2021) Then she began to translate her own works among which mainly are the English-Chinese translation of the Rice Sprout S

25、ong, Naked Earth, Stale Mates and The Rouge of the North, and the Chinese-English translation of The Golden Cangue.2.2 The origin of Yuan-nvIn 1967, the death of Eileen Changs second husband further increased her poverty, during which writing seemed to be the best and only way for her to earn a livi

26、ng. As a writer in residence, she needed to write in English for entering into the American and English literary market. Therefore, she wrote The Rouge of the North, actually the rewriting of The Golden Cangue which is self-translated from Jinsuo ji, the Chinese version. Jinsuo ji was a big hit in C

27、hina while its English translation got unfrequented in Amereica. And the same thing happened to The Rouge of the North which could hardly attract the American readers attention. Cruel reality made her realize the impossibility of a professional English writer. Finally, she turned her attention to Ch

28、ina again. For the one hand, she carried the hope that her novel could get warmly weled in China; and for the other hand, she was proficient at both Chinese and English, not wanting others to translate her works(Si Ma*in, 1996:170). Thus, she chose to translate The Rouge of the Northto Yuan-nv herse

29、lf one more time.2.3 Domestic studies on The Rouge of the North The Rouge of the North, adapted from The Golden Cangue, deserves to be studied whether on its theme or on the translating strategies. In Study on the Translators Subjectivity in Eileen Changs Self-translation Based on Feminism, Zhou Jun

30、 has tried to analyze Eileens thoughts from the perspective of feminism.(Zhou Jun, 2021) In The Rouge of the North under Patriarchal and Family Rights, Song Weiqin focuses on the analysis of Yindi, an unhappy and evil woman struggling in patriarchal and family socity. Chapter Three. A Case Study of

31、Eileen Changs E-C Translating The Rouge of the Northin the light of Skopos Theory3.1 Three rules applied to the translation The influence of skopos rule on translationAmong the three main rules of skopos theory, the rule of skopos ranks the first. Skopos guides the whole translating activity. The ta

32、rget must be able to attract the attention and interest of the target readers, which requires the translator to decide on his or her translating skills and strategies based on the specific purposes of translation. “Every translation is directed at an intended audience, since to translate means to pr

33、oduce a te*t in a target setting for a target prupose and target addressees in target circumstances.(Nord, 2001:12). As the source te*t is different from the target te*t both in the conte*t and the prupose, it appears necessary for the translator to adopt different strategies according to these chan

34、ges. The paper will take specific e*amples to verify how the skopos rule influences the translators choice of translating strategies. The application of coherence principle The coherence rule requires that the translation should be “acceptable and meaningful in a sense that it is coherent with the s

35、ituation in which it is received.(Nord, 2001:140) This means that the target te*t must be consistent with the conte*t and culture of the reader. Thus the translator should employ specific translating strategies and skills to help the target addressees with the prehension of the content. Meanwhile, d

36、ifferent culture has different speaking and writing regulations, which stipulates the translator must be able to find out the difference between two cultures and that the te*t target must convey the original meaning accurately in the translation environment. Here we will see some e*amples in the tar

37、get te*t which follow the rule of coherence. The rule of coherence is subordinate to the top-ranking skopos rule so this rule is only applicable when it does not violate the rule of skopos. When the coherence rule goes against the skopos rule, it must be sarcrificed. The application of the principle

38、 of fidelityThe principle of fidelity requires the interte*ual consistence between ST and TT. As the reproduction of the original te*ts content, the target te*t should also follow the interrealation of the source te*t. This is what Vermeer called “interte*ual relation or “fidelity. Fidelity rule is

39、subordinate to both the skopos rule and the coherence rule, but during the translation, the translator must take the coherence between the source te*t and the target te*t into consideration. When the fidelity rule goes against the skopos rule, it must be sarcrificed. E*amples are as follows:3.2 Skop

40、os of E-C tanslating The Rouge of the NorthSkopos theory requires the translation to be target-centered, which means that the translator should choose the proper translating strategies and skills. Gennerally speaking, each translator has target adressees in his or her mind before translating so that

41、 the target te*t must be aimed at target audience intentionally or unintentionally. Thus, the translator should always take the target audience into consideration when translating, trying best to cater to the readers e*pectations and preferences. Eileen Changs self-translation, as a specific case, a

42、lso has her personal reasons, which is not difficult to find out after understanding this novels ins and outs that have been discussed in chapter two. In short, the translation of The Rouge of the Northseems very important to Eileen Chang. It is the importance that made her try her best to get the a

43、ttention and interest of target audience. So for her, the target te*t must satisfy the reading habit of the Chinese as well as embody the unique charm of Chinese literature.3.3 The principle in the E-C translation of The Rouge of the North Language style The Rouge of the North is very special in tha

44、t it origins from the Chinese literary work, so it is very necessary for the translator to show the essence and beauty of Chinese language when translating. Meanwhile, the target te*t, as one kind of reproduction of the source te*t, is actually a Chinese literary work. Thus the translation should fo

45、llow the writing rule of Chinese literary works. Some kinds of writing skill and style could also be employed in the target te*t. Cultural SpecilicityAlthough translation is just to transfer the language information of the source language, the translator also should take the culture factors into con

46、sideration.(*u Jiawei, 2021) The source language could not be pletely equal to that of the target language and the cultural gap may cause misunderstanding or total inprehension. Then the translator should take specific translating strategy to solve this problem.3.4 Specific strategies adopted in E-C

47、 translation of The Rouge of the North DeletionAs the America and the Chinese are from different cultural background, something that seems understandable to the Chinese may be totally strange to the America. Therefore, the source te*t would have further e*planation of those things the American are u

48、nfamiliar with. However, in Chinese conte*t, the same thing is very understandable for the Chinese people so the e*planatory part in the source te*t is not necessary any more. Such cultural gap contributes to the special strategies taken in translation. E*amples are as below:E*ample 1: “swung into t

49、he slow measured square step, walking with feet wide apart , toes pointing outwards in the manner of mandarins in Peking opera.(Chang Eileen , 1998:1)“踱著方步唱了起來。(Chang Eileen , 2021:99)It is very obvious that Eileen Chang used deletion when translating this sentence. When writing The Rouge of the Nor

50、th, she must consider that the foreigner does not understand what square step is, so she further e*plained such a kind of action while for the Chinese, they could easily understand what the writer refered to just from the Chinese characters, so in Yuan-nv, she deleted the special e*planatory part.E*

51、ample 2: “She was the goods you lose money on, what they call daughters.(Chang Eileen, 1998:7)“一直當(dāng)她是賠錢貨。(Chang Eileen, 2021:104)In ancient China, daughter was always seen as worthless and could only add to the familys burden because the female is born to be weaker than the male in physical and logic

52、 aspects. “Peiqianhuo is traditionally used to mean girls, which could be seen as one part of traditional Chinese culture. However, such idea does not e*ist in English world. So in The Rouge of the North, the writer clearly indicated what she was saying meant the daughter while in Yuan-nv, the furth

53、er elaboration was deleted as the meaning is very obvious to the Chinese.E*ample 3: “She was upset, wondering if he had heard anything about her, about those people looking her over as a prospective concubine.(Chang Eileen, 1998:15)“她又氣又疑心，難道是聽見什么人說她.(Chang Eileen, 2021:108)Chinese people are used t

54、o holding reservations when speaking, letting others to take further consideration. This is a clever municative way often used by the Chinese. However, the foreigner tends to be straight. You should tell them your real thoughts otherwise they will not understand what meaning you want to convey. Thus

55、, in the translation, Eileen Chang deleted the specific discussion about Yindi as Chinese people could imagine that by themselves. The overdetailed e*planation would make the te*t seem sluggish and thereby destroy the readers interest.3.4.2 RewritingFor the same thing, people from different cultures

56、 may have different ways to describe. This is just like the proverbs, which are based on the traditional or historical stories of each ethnic. Therefore, the writer would change her e*pression ways in different conte*t.E*ample 1: “Aunt Wu bent down and lifted her trouser legs a little showing the fe

57、et.(Chang Eileen , 1998:7)“吳家嬸嬸彎下腰去替她拎起袴腳來，露出一只三寸金蓮。(Chang Eileen, 2021:104)In the source te*t, the writer did not further portray the feet. In the target te*t, differently, Eileen Chang depicted the feet as “san cun jin lian. In traditional China, the women used to bound their feet for beauty. It i

58、s not only meeting the asthetic standards of those days but also the feudal etiquettes requirement for women. Obviously, Yindi met such requirements so that she was chosen to be the concubine of the rich but blind master. The rewriting of the feets depiction makes the translation more Chinese. E*amp

59、le 2: “staring at her with eyes like two wet mouths.(Chang Eileen , 1998:8)“兩只眼睛涎澄澄的。(Chang Eileen, 2021:104)The writer here wanted to depict the randy man eyeing Yindi. For the westerner, it would be easy for them to understand the mans mind with the metaphors help. Mouth is just the image of greed

60、y and coveted. But for the target audience, the Chinese, we have different words to describe such a scene. “*ian cheng cheng is just one of them. 3.4.3 Addition“According to Liu Miqing, Addition of information is a fle*ible means with multiple positive effects in translation. It helps the translator