本文是一篇英语论文，本文从忠实翻译伦理的角度分析了《射雕》的英译，发现译者的忠实可以通过她在词汇和句法层面上采取以源文化为中心的翻译策略来表现。在词汇层面上，不仅保留了具有武侠文化特色的词语，而且通过音译和直译，也在很大程度上保留了具有宗教和医学文化特征的词语。在句法层面上，霍尔姆伍德试图通过使用更多的短句和简单的复句来再现汉语的句法特征。还保留了一些严格的平行性。
Chapter One Introduction
1.1 Research Background Louis Cha (1924-2018), well known by his pen name Jin Yong, is the most representative of all Chinese new-style wuxia novelists. His 15 novels, published from 1955 to 1972, earned him a reputation as one of the greatest wuxia writers of all time. Most of his novels are set in the realm of jianghu, a society where many kung fu enthusiasts travel across China, trading blows, teaching skills, and sticking to a strict code of honor. His stories are steeped in a particular Chinese genre that dates back hundreds of years, but he is also the one who modernized wuxia literature and reintroduced it to the mainstream. In Han Yunbo’s opinion, “The wuxia novel is a modeled literary style and its taste is relatively low. But Jin Yong had reached a new height in this field and exerted a huge social influence” (2019: 84).
Despite Cha’s high literary prestige and the lasting effect of his novels on several generations, just three of his 15 novels have been successfully translated into English and published as books before the end of 2017. They are Fox Volant of Snow Mountain (《雪山飞狐》), The Deer and the Cauldron (《鹿鼎记》) and The Book and the Sword (《书剑恩仇录》) and in fact, the distribution and attention given to these three translated texts were both limited in the West (Zhao Gang, Gou Yajun, 2019: 117). This is not to say that wuxia novels are unappealing to non-Chinese readers. Some websites, such as WuxiaWorld.com, have offered all English versions of Cha’s novels in an unauthorized way, attracting tens of thousands of international visitors to browse and read them.
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1.2 Research Significance
The significance of this thesis can be shown by three points listed below.
To begin with, through the literature review of previous studies on translation ethics, this study summarizes three modes of translation ethics, namely ethics of fidelity, ethics of communication, and professional ethics of translators. The ethics of fidelity refers to the relationship between the target text and the source text, whereas the ethics of communication pays more attention to cross-cultural exchange and manifests itself primarily in the translator’s consideration for target readers. The professional ethics of translators analyzes Anna Holmwood’s comprehension of her professional ethics as a translator. In this way, the source culture and text, the target culture and readers, and the translator herself can all be involved in the research.
Second, this thesis offers a new perspective on analyzing A Hero Born. Many studies have been done to date in order to figure out the causes for the successful acceptance of this translation. Yet, when it comes to translation ethics, virtually little has been done. Hence, this thesis chooses this perspective and attempts to conduct a relatively comprehensive study by using the three modes of translation ethics outlined above, with the aim of determining which aspects of the text and peritexts can reflect the translator’s tendency to follow the three modes.
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Chapter Two Literature Review
2.1 An Introduction to Louis Cha and His Wuxia Novels
According to Jin Yong Zhuan (Fu Guoyong, 2013), Louis Cha, famously known as Jin Yong, hailed from Haining City, Zhejiang Province in 1924. He moved to Hong Kong in his twenties and settled there until he died in 2018. He was a well-known wuxia novelist who wrote his first serialized wuxia novel, Shu Jian En Chou Lu, at the age of 31 years old. After that, he went on to create 13 long novels and one short story. In 1972, Cha completed his writing of Lu Ding Ji and proclaimed that he would not write anymore. Instead, he began to devote his time and energy to editing and revising his previously released novels.
英语论文参考
As a new-style wuxia novelist, Cha made great contributions to the development of Chinese wuxia literature. Different from traditional wuxia novels, Cha’s works are full of profound thinking, modern spirit, innovative techniques of expression borrowed from Western literature, and rich imagination, making his novels a model of cultural and aesthetic taste (Yan Jiayan, 2019). This new style is well received by readers. Estimated sales of his works have sold over 300 million copies globally, and this does not even take into account pirated editions (Wang Yang, 2018: 1). Gradually, Cha became one of the best-selling Chinese authors, and his writings have inspired many films, television series, comics and video game adaptions. Since Louis Cha’s novels have such historical and literary significance, more and more scholars have been appealed to conduct studies, resulting in the emergence of a new field of study known as “Jinolog”.
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2.2 Anna Holmwood and Her English Translation of She Diao
A brief introduction to Anna Holmwood and previous studies on the English translation of She Diao are demonstrated respectively in this part.
2.2.1 About Anna Holmwood
Anna Holmwood is a sinologist from Sweden who was born in a multicultural family. Her mother is from Sweden, while her father is from England. In 2005, she got the chance to visit China as a visiting scholar. The experience in China motivated her to learn Chinese, so she spent a year at Oxford University studying Chinese before enrolling at Taiwan Normal University’s Language Center. She then went to major in Chinese literature and history at the School of Oriental and African Studies of London University (Zhang Dailei, 2018: 95).
Holmwood is fond of Chinese literature, particularly Chinese classical literature,such as Tang and Song poetry. She once stated, “I prefer to works full of innovation and imagination over traditional literature” (ibid). While studying in Taiwan, she was captivated by Cha and soon fell in love with his novels, which she considers to be a legacy of Chinese classical literature.
Besides, Holmwood has a lot of expertise in English translation. More than ten years ago, she attended a seminar organized by the English Literature Translation Center and gained greatly from her six months of work with the translator, Nicky Harman, who is well-versed in the English translation of Chinese literature, and she subsequently began to engage in literary translation (Wang Yang, 2018). The contemporary Chinese novel Shan Zha Shu Zhi Lian (《山楂树之恋》) is her first translation.
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Chapter Three Representing the Original: Ethics of Fidelity in the English Translation of She Diao ....................... 25
3.1 Lexical Fidelity ............................ 25
3.1.1 Wuxia Culture-loaded Words ................................. 26
3.1.2 Religious Culture-loaded Words ............................. 35
Chapter Four Promoting Cultural Exchange: Ethics of Communication in the English Translation of She Diao ...................... 43
4.1 Reorganizing the Structure .......................... 43
4.2 Rewriting the Text ...................................... 44
Chapter Five Understanding the Translator’s Responsibility: An Analysis of Anna Holmwood’s Ethics as a Translator ....................... 53
5.1 Opinions on Translation ................................. 53
5.2 Practicing Cultural Communication ................................... 54
Chapter Five Understanding the Translator’s Responsibility: An Analysis of Anna Holmwood’s Ethics as a Translator
5.1 Opinions on Translation
To Holmwood, a translation should prioritize fluency above the accuracy of word-for-word. “The worst thing is that you precisely translate all words but the translation reads lifeless, which will lose the meaning of literary translation” and “the entertaining and creative form of the novel requires a translator to flexibly adopt a different language to reproduce these features” (Zhang Dailei, 2018: 96). In fact, what she aims to achieve is to give the impression that Louis Cha is talking with readers in English. Under the guidance of this translation view, Holmwood has made some changes in the structure and content of the original version to make it more fluent and readable.
Meanwhile, she deems that translation is not the end but a new start of communication, so the greatest loss can only come from not translating at all (ibid: 94) and this is also one of the reasons why she decides to rise to this challenge. Her love of Cha’s novels is another vital reason for her introducing his novels to other countries. When asked about Chinese readers’ lack of faith in translating wuxia novels, Holmwood said in an interview that “what makes something unique to a culture doesn’t always make it a barrier, at least not necessarily. They can be precisely the thing that makes it stand out” (Wang Yang, 2018: 1). Therefore, she does not totally rewrite the original to the point where the cultural differences are nolonger discernible. She has striven to keep the foreignness of Chinese culture in the translation.
英语论文怎么写
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Chapter Six Conclusion
6.1 Major Findings
To begin with, this thesis analyzes the English rendition of She Diao from the perspective of translation ethics of fidelity and finds that the translator’s fidelity can be represented by her adopting a translation strategy of source-culture centeredness on lexical and syntactical levels. On the lexical level, not only words with wuxia cultural specificity are kept, but words with religious and medical cultural features are also largely retained by using the transliteration and literal translation. On the syntactical level, Holmwood has tried to reproduce the syntactical characteristics of Chinese by employing more short sentences and simple compound sentences. Some strict parallelisms are also kept.
Meanwhile, after analyzing the rendering through the lens of communication ethics, it is concluded that the translator has employed the translation strategy of target-culture centeredness to promote cultural exchange. Holmwood has made several adjustments to the structure, including ending this volume with another plot, splitting each chapter into many sections, and changing the locations of illustrations. She has also rewritten the text by adding the explanatory translation to culture-loaded words, deleting large chunks of historical and cultural information, altering the way speech and thought are presented, and translating fight scenes in a streamlined way.
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