The Image of Jews Reconstructed in A Chinese Translation of Oliver Twist from the Perspective of Imagology

The image of Jews,as the“other”,constructed in Oliver Twist by Dickens and reconstructed in its Chinese translation by Wen’an He(1977/1997)1 is studied at the level of lexical items from the perspective of imagology in this paper.Lexical items involving the image of Fagin,the representative of Jews,are negative in the source work.In translating the lexical items to reconstruct Fagin’s image,the translator retains the features of irony and vulgarity carried with them.So,the image of Fagin is generally transported into the target culture basically unchanged.However,due to the translator’s individual reason or the social background of China at that time,those lexical items with religious connotation in the source text are translated without explanation,and as a result,the image of Jews constructed by this kind of lexical items fails to be conveyed to the target readers.

The Analysis of Oriental Tendency in The Lost Daughter of Happiness from the Perspective of Cross-cultural Imagology

Yan Geling’s novel The Lost Daughter of Happiness rebelled to the tendency of Orientalism in the current Western con⁃text.Analyzing this fiction from the perspective of the new subject cross-cultural imagology conforms to the context of cross-cul⁃ture,the need of Chinese cultural consciousness and the interpretation to complex characters.Starting from the image of The Lost Daughter of Happiness,Chinese workers and Chris,taking the method of textual analysis and literature reading,this thesis aims to interpret“the other”-orientalization tendency about male and female from Western culture and the self-orientalization tendency in narrative ways and writing skills in the fiction.However,as a matter of fact,this way can be seemed as a method of Yan Geling’s endeavor to deconstruct the Orientalism from the narrative means and writing skills in a mask of orientalization,which points out a way for the new immigrant literature,that is,diasporic literature writers can make full use of regional barriers,cultural connections and life experiences to open up an enclave of literature.That is,“the third space”came up with by Homi K.Bhabha,so writers can regard it as an experimental plot to break the Western discourse authentically and establish cultural self-confidence gradually.

Whither East-West Comparative Literature? One Recent Answer from China

Comparative literature,as a discipline,has been in selfdoubt and crisis since its birth.Various scholars give different answers to its tendency and future.With the growth of East-West comparative literature research in East Asia,Chinese School of Comparative Literature proposed its own answer to it.In response to James St.André’s review essay'Whither East-West Comparative Literature?Two Recent Answers from the U.S.',this paper focuses on a new answer from Cao Shunqing’s work The Variation Theory of Comparative Literature,aiming to explore the two focuses of this new platform:one is the heterogeneity,and the other is the variation,which are different from French comparatism based on influences and American part based on analogies.On this basis this article tries to have a dialogue with imagology study of variation theory and sinicization of Western literary theory in Cao’s works.By highlighting the heterogeneity and variation,Chinese scholars seek to promote crosscivilization communication based on maintaining and developing the uniqueness of different literatures and civilizations,thus building a harmonious world without uniformity.