Discourse ideology refers to the position, attitude and guideline employed by a writer or speaker constructing a discourse in relation to the readers/hearers. This paper defines the notion of discourse ideology in the...Discourse ideology refers to the position, attitude and guideline employed by a writer or speaker constructing a discourse in relation to the readers/hearers. This paper defines the notion of discourse ideology in the practice of translation, highlights the relationship between discourse ideology and the translator＇s subjectivity, and illustrates the translation strategies appropriate to the context of publicity of Chinese minority culture to the readers outside China. A tentative conclusion is drawn that the top-down approach from discourse ideology to translation strategies and the bottom-up approach from translation strategies to discourse ideology complement with each other in the Chinese-to-English translation of publicity on Chinese minority culture.展开更多
The article is structured around a premise of intertextuality, which is suggested not only by McCarthy＇s own more or less overt allusions to Faulkner＇s writing but also by the very name of his protagonist Suttree, w...The article is structured around a premise of intertextuality, which is suggested not only by McCarthy＇s own more or less overt allusions to Faulkner＇s writing but also by the very name of his protagonist Suttree, which is evocative of the name of perhaps the best known Faulkner villain Thomas Sutpen. This supposition in turn leads to an argument that in his 1979 novel McCarthy does indeed reverse the life story of Thomas Sutpen by making Suttree descend down the very path that Sutpen ascended a century and a half before him, i.e., from the ranks of Southern aristocracy to the scum of the earth, and in defiance of the same ideology that Sutpen went to great lengths to embrace. Thus, an intertextual and comparative approach to McCarthy＇s novel not only in the context of Faulkner＇s Absalom, Absalom! but also his Light in August （cf. Joe Christmas） and The Sound and the Fury （cf. Quentin） as well as Ellen Glasgow＇s short story ＂Jordan＇s End＂ demonstrates that what Cormac McCarthy actually does in Suttree is to demythologize the South, complete with its aristocratic pretensions （＂doing pretty＂）, dubious morality （incest） and fear of miscegenation （obsession with time and the double）. Moreover, in doing so, he defamiliarizes it by reducing it to its Other （poor whites and African Americans）, whose authenticity, liveliness and charitability defy the affectation, lifelessness and decadence of the aristocratic South.展开更多
This paper attempts to focus on Jorge Luis Borges’ short story The Gospel according To Mark. Borges, an Argentina short storywriter and translator, whose motherland is under long-term western colonization, identifi e...This paper attempts to focus on Jorge Luis Borges’ short story The Gospel according To Mark. Borges, an Argentina short storywriter and translator, whose motherland is under long-term western colonization, identifi es himself unconsciously with the western culture. Hisworks mostly touch upon the themes of religion and philosophy. Along with post-colonialism theory’s springing up, critics began to analyze hisworks from the post-colonial perspective. The author thinks that this short story with religious implication parallels to the cultural invasion in theperiod of colonization, from powerful culture to weaker one. The author, thus, aims to use Michael Foucault’s viewpoints concerning power andknowledge to probe into the western cultural hegemony and ideological invasion refl ected in this story. Besides, the loss and construction of theethnic identity of the colonized will be discussed in details.展开更多
A fertile ground is needed for a work to be translated and accepted successfully in the target culture, which includes enough understanding of the ideology and poetics of the source text. Sometimes, a work could be tr...A fertile ground is needed for a work to be translated and accepted successfully in the target culture, which includes enough understanding of the ideology and poetics of the source text. Sometimes, a work could be translated and introduced into a culture too early before the readers there can understand the foreign idea and poetics. The innovative language and narrative experiment in Finnegans Wake are far ahead of the literary tradition in contemporary China, which makes it hard to be understood and accepted wholeheartedly by most Chinese readers. However, such experimental works should not be translated in a domesti- cating way to make them easier. If the experimental poetics in Finnegans Wake were kept in the translation as much as possible, it could advance the acceptance of new ideas and poetics in modem Chinese literature, especially when some efforts are given to make the translated work popular.展开更多
文摘Discourse ideology refers to the position, attitude and guideline employed by a writer or speaker constructing a discourse in relation to the readers/hearers. This paper defines the notion of discourse ideology in the practice of translation, highlights the relationship between discourse ideology and the translator＇s subjectivity, and illustrates the translation strategies appropriate to the context of publicity of Chinese minority culture to the readers outside China. A tentative conclusion is drawn that the top-down approach from discourse ideology to translation strategies and the bottom-up approach from translation strategies to discourse ideology complement with each other in the Chinese-to-English translation of publicity on Chinese minority culture.
文摘The article is structured around a premise of intertextuality, which is suggested not only by McCarthy＇s own more or less overt allusions to Faulkner＇s writing but also by the very name of his protagonist Suttree, which is evocative of the name of perhaps the best known Faulkner villain Thomas Sutpen. This supposition in turn leads to an argument that in his 1979 novel McCarthy does indeed reverse the life story of Thomas Sutpen by making Suttree descend down the very path that Sutpen ascended a century and a half before him, i.e., from the ranks of Southern aristocracy to the scum of the earth, and in defiance of the same ideology that Sutpen went to great lengths to embrace. Thus, an intertextual and comparative approach to McCarthy＇s novel not only in the context of Faulkner＇s Absalom, Absalom! but also his Light in August （cf. Joe Christmas） and The Sound and the Fury （cf. Quentin） as well as Ellen Glasgow＇s short story ＂Jordan＇s End＂ demonstrates that what Cormac McCarthy actually does in Suttree is to demythologize the South, complete with its aristocratic pretensions （＂doing pretty＂）, dubious morality （incest） and fear of miscegenation （obsession with time and the double）. Moreover, in doing so, he defamiliarizes it by reducing it to its Other （poor whites and African Americans）, whose authenticity, liveliness and charitability defy the affectation, lifelessness and decadence of the aristocratic South.
文摘This paper attempts to focus on Jorge Luis Borges’ short story The Gospel according To Mark. Borges, an Argentina short storywriter and translator, whose motherland is under long-term western colonization, identifi es himself unconsciously with the western culture. Hisworks mostly touch upon the themes of religion and philosophy. Along with post-colonialism theory’s springing up, critics began to analyze hisworks from the post-colonial perspective. The author thinks that this short story with religious implication parallels to the cultural invasion in theperiod of colonization, from powerful culture to weaker one. The author, thus, aims to use Michael Foucault’s viewpoints concerning power andknowledge to probe into the western cultural hegemony and ideological invasion refl ected in this story. Besides, the loss and construction of theethnic identity of the colonized will be discussed in details.
文摘A fertile ground is needed for a work to be translated and accepted successfully in the target culture, which includes enough understanding of the ideology and poetics of the source text. Sometimes, a work could be translated and introduced into a culture too early before the readers there can understand the foreign idea and poetics. The innovative language and narrative experiment in Finnegans Wake are far ahead of the literary tradition in contemporary China, which makes it hard to be understood and accepted wholeheartedly by most Chinese readers. However, such experimental works should not be translated in a domesti- cating way to make them easier. If the experimental poetics in Finnegans Wake were kept in the translation as much as possible, it could advance the acceptance of new ideas and poetics in modem Chinese literature, especially when some efforts are given to make the translated work popular.
