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1、9 畢業(yè)設(shè)計(jì)（論文） 論文正文段落，首行縮進(jìn)4個(gè)字母，Times New Roman字體，小四號(hào)，1.25倍行距 首行居中，小二號(hào)字，粗體 Introduction 空一行 Although literary translation as an activity is as old as any cultural activity that man has known, literary translation as an academic discipline is of recent origin. It is generally believed that it be

2、gan with James Holmes, who made the founding statement in his paper entitled “The Name and Nature of Translation Studies” which he presented in 1972 at the Third International Congress of Applied Linguistics in Copenhagen. (James Holmes, 1972:55) Literary translation plays an indispensable and irre

3、placeable role in communication across language and cultures. As far as its basic definition is concerned, the major task of literary translation is to turn the cultural content in one language into another, so whether it is faithful or not largely depends on the degrees of the translator’s grasp of

4、 the two languages and the subtle difference of the cultural content expressed in the languages. Thus literary translation will inevitably encounter the problem of culture and its representations. To deal with this problem, theorists have come up with two kinds of approaches that have aroused heat

5、ed debates. This thesis sets out to study the two strategies on literary translation across the linguistic and cultural differences: one is domestication and the other is foreignization. Domestication refers to target-language-culture-oriented translation in which expressions acceptable in target l

6、anguage culture are exploited in order to make the translated texts intelligible and suitable for the target text readers. Foreignization is source-language-culture-oriented translation, which strives to preserve as much as possible the original flavor in order to retain the foreignness of the sourc

7、e language culture. There exist conflicting opinions on the choosing of these two literary translation strategies in western and Chinese translation field. In western countries, Goethe brings up these two literary translation strategies first. The same idea is held by the 19th-century linguists suc

8、h as Humboldt, Schlegel, Schleiermacher. They considered each language immeasurable in its own individuality. Lawrence Venuti coined two terms domesticating translation and foreignizing translation on describes the two different translation strategies. The terms may be new to the Chinese, but the c

9、oncepts they carry have been at least for a century at the heart of most translation controversies. Lu Xun once said that “before translating, the translator has to make a decision: either to adapt the original text or to retain as much as possible the foreign flavor of the original text”. (Luo Xinz

10、hang, 1984:315) On the threshold of the 21st century, application of these theories to studying domestication and foreignization becomes popular and stimulates another round of dispute over the two strategies. The new round of discussion begins to shift its focus from which strategy is better to whi

11、ch one should be the dominant strategy in the current literary translation in China. For example, Sun Zhili call for the dominance of foreignization while Cai Ping etc., call for dominance of domestication. Since literary translation is where the dispute of domestication and foreignization most of

12、ten arises, this study will mainly focus on the choice of strategies in literary translation while touching upon the translation of other subject matters. This study, with its tentative characteristic, is not intended to give a final answer to this controversy but rather to provide some implications

13、 for the handling of the two strategies in actual practice and the further study of them. 首行居中，小二號(hào)字，粗體，章的標(biāo)號(hào)后不加點(diǎn)，以下各章均另起一頁。 1 Literary Translation Studies 空一行 Literary translation, traditionally denigrated as a second-rate or second-hand activity, is being seen as

14、a unique form of creativity and an act of research. So in this thesis, if we want to discuss the literary translation strategies, we should well know what literary translation is and what the differences between literary translation and non-literary translation are. 二級(jí)標(biāo)題與正文首字對(duì)齊，上下各空一行，小三號(hào)字，粗體

15、1.1 Definition of Literary Translation Mao Dun says, “Literary translation is to reproduce in another language the artistic images of the original work so that the reader of the translation may be inspired, moved and aesthetically entertained in the same way as he would in reading the original”

16、(Luo Xinzhang, 1984:511). As the name implies, literary translation is the translation of literature or other artistic texts such as film scripts, dramatic texts or music lyrics, as opposed to the translation of explanatory prose such as information pamphlets, technical manuals, records, scientific

17、papers, legal documents and the like. This is not mean to be an exhaustive definition, and of course, there will be always be borderline cases where it could be difficult to draw a clear line between literary translation and other kinds of translation, but for the purpose of this paper, this definit

18、ion will suffice. 1.2 The Debate over Literary Translation and Non-literary Translation Translation can be roughly divided into literary translation and non-literary translation. This is not an adequate division, but it serves the purpose of the present study. The division is obviously based o

19、n text types, for translation is generally believed to be a text-oriented event. Many theorists have divided texts according to subject matter, and some others prefer to divide them according to the functions of the language. 當(dāng)新節(jié)或小節(jié)位于一頁的最后一行時(shí)，串到下一頁. 1.2.1 Difference in artistic nature Literat

20、ure is a kind of art, or the art of language, to be specific; so literary translation is also the art of language. In a literary text, artistic values are generated by linguistic forms, which convey the author’s vision, tone and attitude; which embody the mingling or shifting of points of view; whic

21、h add to the affective or emotive force of the message’ which contribute to characterization and make fictional reality function more effectively in the thematic unity. Generally speaking, the task of literary translation is to tender logical images or artistic images of actual life involved in the

22、original from one language to another. Literary translation is more a bilingual art than a bilingual craft. According to A.S. Push kin, the aim of literary translation is to reproduce an artistic work. (Bassnatt, M.Suan, 1991:14) The translator must first understand the content and style of the ori

23、ginal thoroughly and profoundly, and then creatively and accurately reproduce it in the target language. Some scholars even consider literary translation part of the study of comparative literature. The primary difference between literary translation and other forms of translation is the question of

24、 artistic merit. While the form and the register are important even in non-literary translation, e.g. the accepted high register and specific form characteristic of scientific discourse may be required in an article for a professional journal, literary style and artistic merit are not usually import

25、ant considerations. 1.2.2Difference in target readers Different texts are meant for different readers, so are different translations. “The target audience for which a translation is made almost always constitutes a major factor in determining the translation procedures and the level of language to

26、 be employed” (Nida, 2001:102). It is beyond all doubt that language should match its readers. Non-literary translations are, as a rule, made for experts in a particular field, i.e. for a rather homogeneous group of readers who want to inform themselves about new developments and results in science

27、and technology. What they demand of a translation in their field is the information conveyed by the language rather than the language proper. Besides, they are normally captive. That’s why some non-literary papers and books are poorly translated. Literary translations, however, are not intended for

28、 a particular target group. They have a much larger readership, ranging from common readers to literature critics or translation scholars. In effect, anyone with enough reading knowledge is a prospective reader, who is free to choose and buy what is not only intelligible but appreciated because of i

29、ts stylistic features, the need for more adequate translating is obvious. It often defeats a literary translator to satisfy readers with different tastes and at different levels. Hence literary translation is a more demanding job. 另起一頁，首行居中，小二號(hào)字，粗體 2 L

30、inguistic and Cultural Differences in Literary Translation Linguistic and cultural differences are the key terms in the discussion of literary translation. To discuss the two translation strategies, a translator needs, first of all, to have a correct understanding of linguistic and cultural

31、differences. 2.1 Language and Culture 另起一頁，首行居中，小二號(hào)字，粗體 Conclusion 空一行 Since culture influences language and language in turn reflects culture, the transmission of linguistic and cultural differences in literary translation is an obligatory task. The tran

32、sfer of cultural elements is made possible on the basis of mutual intelligibility between people in different cultures. However, confronted with two strikingly different language-culture systems like English and Chinese, the translator is expected to translate by narrowing the cultural gaps. He has

33、to bear in mind the translators dual role as a bilinguist and a biculturalist and the cultural functions of literary translation. It is a significant task for the translator to introduce the source cultural elements, that is, the culture specific words, expressions and some special rhetoric devices

34、unique to the source language system. At the same time, it is also the translators task to ensure that his translation is intelligible and acceptable to the reader. To fulfill the goals proposed above, the translator has to find a balance between the approaches of foreignization and domestication.

35、 另起一頁，首行居中，小二號(hào)字，粗體 Bibliography 空一行 [1] Bassnett, M.Suan. Translation Studies [M]. London and New York: Rout ledge, 1991. [2] James Holmes. The Name and Nature of Translation Studies [M]. Copenhagen: The Third International Congress of Applied Linguistic, 1972. [3]

36、New mark, Peter. A Textbook of Translation [M]. Shanghai: Shanghai Foreign Language Press, 2001. [4] New mark, Peter. About Translation [M]. Cleve don: Multilingual Matters Press, 1991. [5] New mark, Peter. Approaches to Translation, Oxford: Special Reference to Principles and Procedures Involved

37、 in Bible Translating [M], Lei den: E .J.Brill, 1981. [12] 成昭偉.試論翻譯中的文化因素及其處理[D].湖南：湖南師范大學(xué)碩士學(xué)位論文，1999. [17] 蔣學(xué)軍.論英語幽默寓言的翻譯[J].南華大學(xué)學(xué)報(bào)，2001. [18] 金惠康.跨文化交際翻譯續(xù)篇[M].北京：中國(guó)對(duì)外翻譯出版公司，1997. [19] 黎照.魯迅、梁實(shí)秋論戰(zhàn)實(shí)錄[M].華齡出版社，1997. [20] 劉宓慶.當(dāng)代翻譯理論[M].北京：中國(guó)對(duì)外出版公司，1999. [21] 羅新璋.翻譯論集[M].商務(wù)印書館，1984. [22] 孫致禮.“中國(guó)

38、的文學(xué)翻譯：從歸化趨向異化”[J]，中國(guó)翻譯，2002. [23] 譚載喜.新編奈達(dá)翻譯[M].北京：中國(guó)對(duì)外翻譯出版公司，1999. [24] 王佐良.翻譯：思考與試筆[M].外語教學(xué)與研究出版社，1989. 另起一頁，首行居中，小二號(hào)字，粗體 Acknowledgements 空一行 In the completion of this thesis, I am extremely grateful to my supervisor, Professor Wang Xiaoli, for her instruction and enligh

39、tenment concerning stylistics and other fields, valuable suggestion during the period in which this thesis was being written, generosity in spending his revising this thesis meticulously, and her encouragement as well. And from the bottom of my heart, I wish to thank all those who directly or indirectly contributed to this thesis by giving me their encourage, advice and practical help. 9