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《红高粱家族》葛浩文英译特点研究 被引量：17

A tentative approach to the characteristics of Goldblatt's translation Red Sorghum
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摘要 葛浩文英译《红高粱家族》的策略是"以读者为中心",最大特点是删节(包括删除与节译)和改写。本文主要从意识形态、过分煽情、文化背景、故事节奏等方面探讨葛译《红高粱家族》的删节,并从词汇、句法、语段、篇章等层面系统探究其改写。 Golblatt adopted ' reader-oriented' strategy in his translation Red Sorghum,where abridgement and rewriting can be widely detected. This paper, based on such factors as ideology,gushing sentimentalism,cultural background and story rhythm,explores the translation characteristics of Red Sorghum from lexical,sentential,discoursal,textual aspects, etc.
作者 蒋骁华
机构地区 澳门理工学院
出处 《外语与翻译》 2015年第2期3-10,共8页 Foreign Languages and Translation
关键词 《红高粱家族》英译 葛浩文 删节 改写
分类号 I046 [文学—文学理论] H315.9 [语言文字—英语]
  • 相关文献

参考文献19

  • 1He felt no remorse, though, over murdering Shan Bianlang, only disgust. (Goldblatt, 1993: 109).
  • 2He was ravenously hungry, so he dug in, eating quickly un- til the head and the wine were gone. (Goldblatt, 1993: 102).
  • 3Even though by then he and Grandma had already done the phoenix dance in the sorghum field. (Goldblatt, 1993 : 99).
  • 4From that day on, Granddad and Grandma shared their love like mandarin ducks or Chinese phoenixes. Uncle Arhat and the hired hands were so tormented by their naked, demonic exhibition of desire that their intelligence failed them.. (Goldblatt, 1993: 149).
  • 5"There was no turning back. Now that he'd knocked over the gourd and spilled the oil~ he'd create a new life for the young woman. " ( Goldblatt, 1993 : 110).
  • 6The ninth day of the eighth lunar month, 1939. My father, a bandit's offspring who had passed his fifteenth birthday, (Goldblatt, 1993 : 1).
  • 7Father had barely passed his fifteenth birthday. The sun had nearly set on this ninth day of the eighth lunar month of the year 1939, .-. (Goldblatt, 1993: 93).
  • 8Heaven and earth were in turmoil~ the view was blurred. Bythen the soldiers' muffled footsteps had moved far down the road. Father could still hear them, but a curtain of blue mist obscured the men themselves. (Goldblatt, 1993: 3).
  • 9Hau Kiou Choaan or The Pleasing History. London: Printed for R. And J. Dodsley, 1774.
  • 10Bonnie S. McDougall.Literary Translation:The Pleasure Principle[J].中国翻译,2007,28(5):22-26. 被引量：52

二级参考文献12

  • 1Performing Without a Stage: The Art of Literary Translation by Robert Wechsler (Catbird Press, North Haven CT, 1998), esp. P. 25.
  • 2The best-known examples are Lawrence Venuti, The Translator's Invisibility: A History of Translation (London, Routledge, 1995)
  • 3The Scandals of Translation: Towards an Ethics of Difference (London, Routledge, 1998).
  • 4Venuti, The Scandals of Translation, P. 12.
  • 5Fictional Authors, Imaginary Audiences"" Modern Chinese Literature in the Twentieth Century (Chinese University Press, Hong Kong, 2003), pp. 4 - 6.
  • 6‘ Translation without Translators: A Social Systems Perspective' by Theo Hermans, Journal of Translation Studies, vol. 9, no. 1 (2006), pp. 1 -- 26.
  • 7Eva Hung," A Mono-cultural Approach to Translating Classical Chinese Poetry", in Translating Literary Texts: Theory and Practice, ed. by Ngai-lai Cheng (Department of Chinese, University of Hong Kong, Hong Kong, 2000), pp. 29-- 72.
  • 8Poems of the Late T 'ang, translated with an Introduction by A. C. Graham (Penguin Books, London, 1965), p. 37.
  • 9Andre Lefevere, Translating Literature: Practice and Theory in a Comparative Literature Context (Modern Languages Association of America, New York, 1992), chapter 2, pp. 15 -- 110.
  • 10For quotations from writers who speak more kindly of translation, see Wechsler, pp. 51 -- 64

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