英語專業(yè)畢業(yè)論文從目的論看《紅高粱家族》中文化負載詞的英譯研究

1、<p>　　本科畢業(yè)論文（設計）</p><p>　　題 目： 從目的論看《紅高粱家族》中文化 </p><p>　　負載詞的英譯研究 </p><p>　　學 院： 外國語 </p><p>　　專 業(yè)：

2、 英語 </p><p>　　學位名稱： 文學學士學位 </p><p>　　學 號： </p><p>　　姓 名： </p>

3、<p>　　指導老師： 職稱： </p><p>　　完成時間： </p><p>　　成 績： </p><p><b>　　溫州醫(yī)科大學教務處&l

4、t;/b></p><p>　　畢業(yè)設計（論文）誠信聲明書</p><p>　　本人承諾：在今后的畢業(yè)論文（設計）撰寫過程中，將遵守學校有關規(guī)定，恪守學術規(guī)范，在指導老師指導下獨立完成研究成果。本人在論文寫作中參考的其他個人或集體的研究成果，將均在文中以明確方式標明。本人依法享有和承擔由此論文而產(chǎn)生的權(quán)利和責任。</p><p>　　聲明人：

5、 （簽字） 時間： 2014 年 12月 18日目 錄</p><p>　　Abstractiii</p><p><b>　　摘要iii</b></p><p>　　1. Introduction.- 1 -</p><p>　　2. A brief introduction to Skopos Th

6、eory- 1 -</p><p>　　2.1 The definition of “skopos”- 1 -</p><p>　　2.2 The rules of Skopos Theory- 2 -</p><p>　　2.2.1Skopos Rule- 2 -</p><p>　　2.2.2Coherence Rule- 2

7、-</p><p>　　2.2.3Fidelity Rule- 3 -</p><p>　　2.3The translation strategy under Skopos Theory- 3 -</p><p>　　2.3.1 Documentary translation- 3 -</p><p>　　2.3.2 Instrumen

8、tal translation- 4 -</p><p>　　3. Analysis of culture-loaded words- 4 -</p><p>　　3.1 The definition of culture-loaded words- 4 -</p><p>　　3.2 The categories of culture-loaded word

9、s- 5 -</p><p>　　3.2.1 Historical culture-loaded words- 5 -</p><p>　　3.2.2 Social culture-loaded words- 6 -</p><p>　　3.2.3 Mythical culture-loaded words- 6 -</p><p>

10、　　4. The translation of culture-loaded words in Hong Gaoliang under Skopos Theory- 6 -</p><p>　　4.1 An introduction to Hong Gaoliang- 6 -</p><p>　　4.2 The skopos of Howard Goldblatt’s translat

11、ing Hong Gaoliang - 7 -</p><p>　　4.3 The analysis of the translation of culture-loaded words in Hong Gaoliang- 9 -</p><p>　　4.3.1 The translation of historical culture-loaded words- 9 -</p

12、><p>　　4.3.2 The translation of social culture-loaded words.- 10 -</p><p>　　4.3.3 The translation of mythical culture-loaded words- 11 -</p><p>　　5. Conclusion.- 12 -</p><

13、;p>　　6. Acknowledgements- 16 -</p><p>　　A Study on the English Translation of Culture-loaded Words</p><p>　　in Hong Gaoliang from the Perspective of </p><p>　　Skopos Theory</

14、p><p>　　Abstract: In recent years, culture translation has become a focus in translation study, and culture-loaded words are core parts of culture. This paper takes Mo Yan’s novel, Hong Gaoliang, which was tran

15、slated by Howard Goldblatt as a study case and tries to analyze the English translation of culture-loaded words from the perspective of Skopos Theory, aiming to prove the guidance that Skopos Theory has to the translat

16、ion practice.</p><p>　　Key words: Skopos theory; English translation; culture-loaded words; Hong Gaoliang;</p><p>　　從目的論看《紅高粱家族》中文化負載詞的英譯研究</p><p>　　摘要: 近年來，文化翻譯已經(jīng)成為翻譯研究的焦點和熱門，而文化負載

17、詞則是文化的重要一部分。本文以目的論為視角，以葛浩文英譯版莫言小說《紅高粱家族》為例，對文化負載詞的英譯加以研究，以期證明翻譯目的論對翻譯實踐的指導作用。</p><p>　　關鍵字：目的論；英譯；文化負載詞；《紅高粱家族》</p><p>　　A study on the English Translation of Culture-loaded Words in Hong Gaolia

18、ng from the Perspective of Skopos Theory</p><p>　　1. Introduction</p><p>　　With the trend of globalization and culture diversification, the translation study has become increasingly diversified,

19、 more and more experts think translation cannot be confined to the traditional mode as it used to be. Meanwhile, many translators begin to view that translation is not only the simple process of symbol conversion between

20、 textures, but also an activity related to culture. Thus culture translation has become a focus study in recent years. </p><p>　　As the core part of the functionalism, Skopos theory has been admitted by expe

21、rts and translators since it was first put forward by German scholar Hans Vermeer in 1970s. The rules and principles of Skopos Theory help translators to deal with text and also give information to help the evaluation of

22、 translation works. According to literature review, many scholars believe Skopos Theory can give guidance and strategies for translators in the process of translation, and help to improve the quality of</p><p&

23、gt;　　Mo Yan, a Chinese writer，specializes in depicting northeastern local culture in china. Red Sorghum, one of Mo Yan’s most representative literature works, attracted many readers by its special local color. Especially

24、 after Mo won the Nobel Prize in Literature, his works became focus among the public. Thus the author of this paper tries to analyze the Howard Goldblatt’s English translation of culture-loaded words in Red Sorghum from

25、the perspective of Skopos Theory. </p><p>　　2. A brief introduction to Skopos Theory</p><p>　　Skopos Theory is a core part of the functionalist theory which was put forward by Germany scholars

26、 Vermeer in the 1970s. Following Vermeer, Reiss, Justa Holz-Manttari and Christine Nord are also representative scholars of Skopos theory, and have also made a lot of contribution to completing this theory. There are thr

27、ee main stages in Skopos Theory’s development after Vermeer carried out this theory, which are the functional category of translation criticism put forward by Katharina Reiss, transl</p><p>　　2.1 The definit

28、ion of “skopos” </p><p>　　Vermeer first defined skopos as “every translation text is produced for certain purposes and it should serve these purposes. And the translator should translate in a way that enable

29、s the translation text to fulfill its intended function in the target culture for the target reader” (33). In this way, the skopos(intention) of translation is totally from the translator, so the translator should be abl

30、e to handle the social background, history, and arts from the source-text, ensuring the quality of </p><p>　　Skopos is the Greek word for “aim” or “purpose” and was introduced into translation theory in the

31、1970s by Hans J.Vermeer as a technical term for the purpose of a translation and of the action of translating. (Nord 21) Apart from the term “skopos”, Vermeer also used other words like aim, purpose, intention and functi

32、on, which is equivalent to skopos.(Nord 23)</p><p>　　Nord introduced three possible types of purpose into the study of translation: "the general purpose aimed at by the translator (perhaps to earn a liv

33、ing); the communicative purpose aimed at by the TT in the target situation (perhaps to instruct readers) and the purpose aimed at by a particular translation strategy or procedure (perhaps to enrich the target language)&

34、quot;(Nord 13). This provides us the information that the various intentions from different translators may cause different intentions, </p><p>　　The definition of the Skopos implies that this theory almost

35、applies on every action of the translators, which means translators themselves can handle the whole process of translation. Although skopos is a part of functionalist theory, the difference exists between function and in

36、tention (skopos). Nord distinguished intention from function by viewing the two terms from different perspectives. Intention is sender-oriented, while function is receiver-oriented. (Nord 28) As translation is usually v&

37、lt;/p><p>　　2.2 Rules of Skopos Theory</p><p>　　There are three main rules within the skopos theory, namely, skopos rule, coherence rule, and fidelity rule. </p><p>　　2.2.1Skopos Rule&

38、lt;/p><p>　　According to the skopos theory (the theory that applies the notion of skopos to translation), the prime principle determining any translation process is the purpose(skopos) of the overall translatio

39、n action. This fits in with intentionality being part of the very definition of any action.”(Nord 27) Nord pointed out that the skopos rule actually means “to translate, interpret, speak or write in a manner that makes a

40、 translated text function precisely in the situation where it is applied under the</p><p>　　2.2.2Coherence Rule</p><p>　　Coherence rule means the translation must conform to the standard of “int

41、ratextual coherence”(Jia 53), which means the translation works should be readable and be accepted by the target readers. The coherence rule and fidelity rule are subordinate rules under the skopos rule, which are set to

42、 further explain the Skopos Theory. The coherence rule and fidelity rule also explain the relations between source text and target text. Although the Skopos theory determines the translators can translate th</p>&

43、lt;p>　　2.2.3Fidelity Rule</p><p>　　The fidelity rule is the third part of Skopos Theory, which is also skopo rule’s supplementary. Nord mentioned “Since a translation is an offer of information about a pr

44、eceding offer of information, it is expected to bear some kind of relationship with the corresponding source text. Vermeer calls this relationship ‘intertextual coherence’ or ‘fidelity’, which is referred to as ‘fidelity

45、 rule’. ” (32). Intertextual coherence is subordinate to intratextual coherence, so fidelity rule is also subor</p><p>　　Among the three rule, the skopos rule is the top-ranking,implying that the translation

46、 is decided by the translators’ skopos. Reiss and Vermeer then pointed out “the end justifies the means” (101). This means that each texts provided by the translators have a certain purpose or intension and its purposed

47、should be served by the translators. Because of this, there is no right or wrong, good or bad to evaluate a translator’s work, only the translation skopos decides the work. </p><p>　　The Skopos Theory makes

48、up the weaknesses from traditional equivalence theories. In Skopos theory, there is no definite right or wrong of the translation work, the different strategies of different translators are taken into account and the sou

49、rce text is the main factor.</p><p>　　2.3The translation strategy under Skopos Theory</p><p>　　Based upon the three rules of the Skopos Theory, Nord put forward two strategies of translation und

50、er “Skopos”. (Jia 48) Two translation strategies provide other two ways for translators. </p><p>　　2.3.1 Documentary translation</p><p>　　Nord mentioned that “documentary translation” means that

51、 “it produces a communicative interaction in which a source-culture sender communicates with a source-culture audience.” (49). It means if translators use documentary translation as their measures of translation, they wi

52、ll emphasize the culture of source language or source text. According to the translation of different aspects of the source text, Nord then classified documentary translation into four parts, which are “interlineal trans

53、lati</p><p>　　2.3.2 Instrumental translation</p><p>　　Instrumental translation values “a new communicative interaction between the source-text and a target-culture audience.”(Nord 51) This point

54、s out that instrumental translation emphasizes on the culture of target culture. In instrumental translation, the communicative language and its environment has transferred into what the target language has, the characte

55、ristics of the source language are only the references for translators, the importance is the information that transmitted according to the </p><p>　　According to the various textual functions, Nord divided

56、the “instrumental translation” into three parts, which are “equifunctional translation”, “heterofunctional translation” and “homologous translation”. (Nord 51) </p><p>　　3. Analysis of Culture-loaded Words&l

57、t;/p><p>　　Since language is the carrier of culture, the translation of language is in fact the translation of culture. In recent years, the study of translation has shifted its focus on culture translation, an

58、d the relationship among culture, language and translation is actually connected with each other. The process of translation contains interpretation and understanding of one culture, however, culture difference does beco

59、me the barrier in translation. Culture-loaded words are one of the representative</p><p>　　3.1 The definition of Culture-loaded words</p><p>　　The conception of culture was defined at first by E

60、.B.Tylor, who pointed out that culture is a completed whole which includes knowledge, belief, arts, morals and other capabilities and habits acquired by members of society. (121) So culture is the combination of several

61、factors, it both carries invisible things, and can also be shown in materials. Because of the relation between culture and language, some expressions in language are ingrained by culture. According to a Spanish translato

62、r, J.F. A</p><p>　　Nida pointed out that culture-loaded words refer to “the terms that occur in the cultures or that are readily recognized as applying particularly to one culture and that can only find fami

63、liarities but not identities in another culture”(12) This implies that culture-loaded words cannot find the equivalent words during translation, which also increases the difficulties of translation.</p><p>　

64、　While translating the Chinese to English, the communication between Chinese culture and English culture will happen, and how to deal with culture also becomes a problem. American scholar Eugene Nida mentioned about cult

65、ure translation “the fundamental problems in translation do not lie in language discrepancy, but in cultural discrepancy.”(1996). The culture translation does not only include language translation, but also contains th

66、e translation of one culture’s history, religion, arts, polit</p><p>　　3.2 The categories of Culture-loaded words</p><p>　　The categories of culture-loaded words vary from different standards an

67、d different understanding from scholars. American scholar Eugene Nida classified culture-loaded words into five categories, namely, ecological culture-loaded words, linguistic culture-loaded words, social culture-loaded

68、words, material culture-loaded words, and religious culture-loaded words. (Nida 47)</p><p>　　Elisa Armellino classified culture-bound words into three different categories in her book Translating Culture-bou

69、nd Elements in Subtitling-An Example of Interlinguistic Analysis: which are historical culture-loaded words, social culture-loaded words and mythical culture-loaded words. This paper tries to introduce the culture-loaded

70、 words defined by Elisa. </p><p>　　3.2.1 Historical culture-loaded words</p><p>　　Historical culture-loaded words mainly refer to history including facts and people of a nation's history, a

71、nd objects and situations which can be clearly linked to a certain historical period. (Elisa 34) Many historical events usually consist of certain social backgrounds, so they are very likely to carry some elements which

72、other cultural backgrounds do not have. For example, in Qing Dynasty, nine levels in total were used to describe the officials at that time. The first class has a title name</p><p>　　History carries many cha

73、racteristics of one culture, and history difference brings culture differences. Because of China’s long history, there are still many historical culture-loaded words cannot be fully translated into other languages.</p

74、><p>　　3.2.2 Social culture-loaded words</p><p>　　Social culture-loaded words cover elements related with society where a further distinction is needed, like customs and usages, institutions and so

75、cial structure, lifestyle and habits, beliefs and morality. (Elisa 49) Words related with festivals, politics and history are always social culture-loaded words. For example, like almost every Chinese know what is “糖葫蘆”,

76、 but there is no such thing in western countries. If it is translated into “sweet cucurbit”, then it is totally wrong, because “糖葫蘆” </p><p>　　3.2.3 Mythical culture-loaded words</p><p>　　Mythic

77、al culture-loaded words are some words related with myth, tradition and religion.（Elisa 50）Because of culture difference, different countries must have different myths and stories which are full of native color. The proc

78、ess of translating those myths and stories is arduous. For example, while translating the stories related with Tibetan Buddhism; the religion difference becomes a problem. Most people in western countries believe in Chri

79、stianity, while people in eastern countries tend to be</p><p>　　4. The translation of Culture-loaded Words in Hong Gaoliang under Skopos Theory</p><p>　　4.1 An introduction to Hong Gaoliang <

80、/p><p>　　Honggaoliang jiazu presents us with an exquisite example of how memory invokes and represents the past.(G.Andrew Stuckey 131). This novel also becomes the representative work of “searching for roots”.

81、The novel has been translated into more than fifteen languages, which is famous both domestically and internationally. The culture translation of this novel is also an important part when the novel is transmitted worldwi

82、de. </p><p>　　Hong Gaoliang’s author, Guan Moye, is known for his pen name, Mo Yan. He was born in 1955 in Gaomi, a village in Shandong Province. Mo Yan’s hometown Gaomi gives him a lot of writing inspiratio

83、ns; this place also becomes many origins of stories in his novels. During Mo Yan’s teenage years, the Cultural Revolution broke out, so he had to drop out. He spent ten years on the countryside doing farm work. His passi

84、on for reading books was not reduced by the limitation of the literature books because </p><p>　　The novel consists of five parts, namely, Hong Gaoliang, Gaoliang Wine, Gog Ways, Gaoliang Funeral and Strange

85、 Death. The story was told in first narration. The narrator told story about his grandparents fought against the Japanese during the anti-Japanese War. The story begins with the two main character, grandpa, Yu Zhan’ao an

86、d grandma, Dai Fenglian. Then it mainly describes the stories happened during anti-Japanese times. Several characters with distinct personalities constitute the ups and d</p><p>　　Hong Gaoliang is Mo Yan’s m

87、ost representative novel, and it wins the world fame after translation into different languages. In 2012, Mo Yan was awarded the Nobel Prize in Literature; he was the only Chinese writer who was awarded this prize. After

88、 the winning of Nobel Prize, Mo Yan’s works have become increasingly popular, especially his English translation works, which open a door for the international world to get to know the different aspect of Chinese history

89、 and culture. </p><p>　　4.2 The Skopos of Howard Goldblatt’s translating Hong Gaoliang </p><p>　　Hong Gaoliang was translated by American scholar and translator Howard Goldblatt. Howard Goldblat

90、t was born in 1939, in Long Beach, America. In 1960s, Howard learned Chinese in Taiwan. At first, he translated Xiao Hong’s work, which gained a lot of publicity and popularity. Then in the next thirty years, he translat

91、ed more than forty Chinese literature works, including the works of Wang Shuo, Su Tong, and Jia Pingwa and so on. His great translation of Chinese literature brought him awards and re</p><p>　　The intention

92、of Howard Goldblatt translating Mo Yan has two parts. The first is out of interest. After reading the Mo Yan’s Chinese novels, Howard showed a strong interest in conveying those excellent works into America. Goldblatt di

93、scovered Mo Yan in 1988, when a friend sent him a copy of a Hong Kong literary magazine that contained The Garlic Ballads. (Aimee 3) While considering the public recognition and American readers’ mainly interest, some co

94、ntents of Hong Gaoliang is rewritten by Howard</p><p>　　Hong Gaoliang is one of the Chinese novels translated by Howard Goldblatt. The well-translation of this novel helps a lot in its promotion in America.

95、Even Mo Yan himself, positively admitted Howard Goldblatt’s contribution in helping open American market for his novels to communicate with the other. Mo Yan mentioned this in his speech in the University of Colorado “My

96、 novels may be translated by others and also published in America, however, they cannot be perfectly-translated by him (Howard Go</p><p>　　Howard Goldblatt has never stopped studying Chinese literature and t

97、ranslation. The Writing Life, which was published in Washington Post in 2002, systematically showed his perspectives towards translation. His opinions and principles towards translation can be concluded as follows: trans

98、lation is loyalty, rewriting, and cultural communication. Meanwhile, translation is made up with creativity. Howard Goldblatt said in The Writing Life “The satisfaction of knowing I’ve faithfully served two const</p&g

99、t;<p>　　Howard Goldblatt stated in The Writing Life that “Ninety percent of all translation is inadequate and once threshed into a different language, a piece of writing is transformed, changed…Translation is inad

100、equate, but it’s all we have if good writing is to have its life extended, spatially and temporally.” The intention of his translation is to let the readers understand the whole story; he believes translation is a servic