从目论看-葛浩文红高粱英译

?f别ThesisIIlllIlllllllllrIIIllIllllIllIlllllUJY2390217HowardGoldblatt，STranslationoftheRedSorghum'．ASkopos·-theoreticAccountByTuLihuiAdvisor：Prof．YuLijun(orDr．xxx)SchoolofInternationalStudiesUniversityofInternationalBusinessandEconomicsMay2013 学位论文原创性声明本人郑重声明：所呈交的学位论文，是本人在导师的指导下，独立进行研究工作所取得的成果。除文中已经注明引用的内容外，本论文不含任何其他个人或集体已经发表或撰写过的作品成果。对本文所涉及的研究工作做出重要贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律责任由本人承担。特此声明学位敝储签名削为／3够夕 学位论文版权使用授权书本人完全了解对外经济贸易大学关于收集、保存、使用学位论文的规定，同意如下各项内容：按照学校要求提交学位论文的印刷本和电子版本；学校有权保存学位论文的印刷本和电子版，并采用影印、缩印、扫描、数字化或其它手段保存论文；学校有权提供目录检索以及提供本学位论文全文或部分的阅览服务；学校有权按照有关规定向国家有关部门或者机构送交论文；在以不以赢利为目的的前提下，学校可以适当复制论文的部分或全部内容用于学术活动。保密的学位论文在解密后遵守此规定。学位论文作者签名：导师签名：易多年厂月步【磐哆日 ACKNOWLEDGEMENTSFirstofall，mysmcercgratitudegoestoProfcssorYuLijun．It’Sagreatprivilegetohavehim嬲myadvisor．Heisamostconsiderateandcaringguideduringmyschoollife．Withouthishelpandadvice，thispaperwoddn’thavebeenpossible．IamalsogreatlyindebtedtoalltheteachersfromtheSchoolofInternationalStudieswhohaveinspiredandeIllightenedme丽ththeirwonderfullecturesandinstructions．Lastbutnotleast，1wanttothankmyparentsandbrotherfortheirendlessloveandsupport．Besides，Iamalsogratefulforthesincerecareandencouragementfrommyfriends．March2013 摘要翻译目的论兴起于20世纪70年代的德国。其代表的翻译理论家包括赖斯，弗米尔，曼塔莉和诺德。该理论的核心思想是翻译目的决定翻译行为，提出目的论应遵循的三个原则，即目的原则，连贯原则和忠实原则。翻译目的论的提出在翻译理论研究史上是一次重要的突破，并为今后翻译研究和翻译实践开辟了新视角。自1986年出版以来，红高粱家族凭借其独特的风格和引人入胜的情节赢得了广大读者的好评。次年，同名电影《红高粱》一经公映，便在国内外获奖无·数。从此，也让国外读者开始熟悉《红高粱家族》和其作者莫言。随后，该作品被翻译成多国语言走向世界舞台。1992年由葛浩文先生翻译的《红高粱家族》英译本问世，引起热烈反应。2012年，莫言荣获诺贝尔文学奖，成为首位获得此项殊荣的中国人。本文在目的论指导下研究英译本《红高粱家族》的翻译策略。本文结合目的论的相关内容主要从三个层面探讨红高粱家族的翻译策略，一是结构层面，二是主题层面，三是语言文字层面。研究的目的主要是根据不同的翻译目的探索其相应的翻译策略。从目的论角度看，《红高粱家族》采用多种翻译策略达到了既保留《红高粱家族》原作原汁原味的目的也达到了使外国读者接受译本，使译本流畅通顺的目的。关键词：红高粱家族，翻译策略，目的论 ABSTRACTHowardGoldblatt’STranslationoftheRedSorghum：ASkopos-theoreticAccountTULihuiSkopostheorywasfirstdevelopedinthe1970sinGermany．ItsrepresentativesincludeKatharinaReiss，HansVermeer,JustaHolz-ManttariandChristianeNord．Thecoretheoryofthisschoolisthattranslationalpurpose，thatisskopos，determinestranslationbehavior．Threerulesunderlietheskopostheory；theyaretheskoposrule,coherenceruleandloyaltyrule．Theskopostheoryisabreakthroughinthehistoryoftranslationstudies．Besides，itopensupanewperspectivefortranslationstudiesandtranslationpracticesinthefuture．Sinceitspublicationin1986，HongGaoLiangJiaZuhaswonacclaimwithitsuniquestyleandinvitingplots．In1987，ZhangYiMou’SfilmRedSorghum，whichisadaptedfromHongGaoLiangJiaZu，meetsthepublicandwasawardedwithprizesandhonorsfromhomeandabroad．AndsincethenforeignreadersbegantogetthemselvesfamiliarwithHongGaoLiangJiaZuanditsauthorMoYan．Thenthisworkwastranslatedintomanyforeignlanguages．In1992，theEnglishversionofHongGaoLiangJiaZu，namelyRedSorghum，whichistranslatedbyProfessorHowardGoldblatt，cameout．Itwasahit．In2012，MoYanwonthe2012NobelPrizeinliteratureandbecamethefirstChinesetogetthishonor．ThispaperaimstoexamineandexplorethetranslationstrategiesormethodsofHongGaoLiangJiaZuundertheguidanceofskopostheory．Withaviewtotheskopostheory，thispaperattemptstostudyandexamine thestrategiesormethodsofHongGaoLiangJiaZufromthreeperspectives，thatis，fromtranslatingstructureofHongGaoLiangJiaZu，fromtranslatingthemeofHongGaoLiangJiaZuandfromtranslatingspecificwordsandsentencesinHongGaoLiangJiaZu．Thepurposeofthisstudyistoexploredifferenttranslationstrategiesormethodsaccordingtodifferentpurposesoftranslation．IntranslatingHongGaoLiangJiaZu，thetranslatornotonlysuccessfullyretainsoriginalflavorofHongGaoLiangJiaZu，butalsobearsreadinghabitsoftargetreadersinmindbyadoptingvarioustranslationstrategiesandmethods．Keywords：HongGaoLiangJiaZu，TranslationStrategy,Skopos CONTENTSChapterOneINTRODUCTION⋯⋯．⋯．．．．．．．．．．．．．．．⋯⋯．．．．．．．．．．．．!1．1NeedfortheStudy⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．至1．2ResearchStatement⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯21．3ResearchMethodology⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯21．4StructureoftheThesis⋯⋯⋯⋯⋯⋯⋯．．．．．．．⋯．．⋯．．．．．⋯⋯．⋯⋯⋯．⋯．⋯．．．⋯⋯⋯．．．⋯⋯⋯⋯⋯⋯⋯⋯2ChapterTwoLITERATUREREVIEW⋯．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．32．1SkoposTheory⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．32．1．1AnIntroductiontotheFunctionalistTranslationtheory⋯⋯⋯⋯⋯⋯⋯．32．1．2SkoposTheoryandItsBasicRules⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．72．1．3CriticismsoftheSkoposTheory⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯一92．2IntroductiontoMoYahandHisNovelHongGaoLiangJiaZu⋯⋯⋯⋯⋯⋯1O2．3ResearchonHowardGoldblattandHisTransitions⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．152．3．1AbriefintroductiontoHowardGoldbla_tt⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯一162．3．2AglimpseintothetranslationalthoughtsofHowardGoldblatt⋯⋯⋯⋯．．16ChapterThreeANANALYSISOFTHETRANSLATIONSTRATEGIESANDMETHODSOFTHEREDSORGHUMBASEDONSKOPOSTHEORY．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．：113．1TransitingtheStructureoftheHongGaoLiangJiaZu⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯2l3．1．1TheStructureoftheHongGaoLiangJiaZu⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．2l3．1．2TranslationStrategiesandMethodsUsedinTranslatingtheStructureofRedSorghumBasedontheSkoposTheory⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．223．1．2．1．Sub-segmentationwithintheChapter⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．223．1．2．2ParagraphingandReconstructionofevents⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．26 3．2TranslatingtheThemeofHongGaoLiangJiaZu⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．283．2．1TheAnti-historyThemeofHongGaoLiangJiaZu⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．283．2．2TranslationStrategiesandMethodsUsedinTranslatingtheThemeofRedSorghumBasedontheSkoposTheory⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．293．2．2．1Adaptation⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯293．3TranslatingtheSpecificWordsandSentencesofHongGaoLiangJiaZu⋯⋯⋯⋯．323．3．1TranslatingtheDialectsinHongGaoLiangJiaZu⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯333．3．1．1TheCoinageofNewWordsinEnglish⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯333．3．1．2EnglishCommonSayingversusDialects⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．343．3．1．3StandardEnglishversusDialects⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．353．3．2TranslatingOtherSpecificWordsandSentencesinHongGaoLiangJiaZu．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．：；53．3．2．IOmission⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯353．2．2．2Addition⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．373．3．2．3Conversion⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．38ChapterFourConeIUSiOff⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯404．1FindingsoftheThesis．．．．．．⋯．．．．．．．．．．．．．．．．．．．．⋯⋯．．．．．．．．．．．．．．．．．⋯⋯．．．．．．．．．．．．．⋯．．．．．．．⋯．．⋯．．．⋯．．．．．404．2LimitationsoftheThesis．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．⋯．．．．．．．．．．．．．．．．．．⋯．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．404．3SuggestionsforFutureStudies．．．．．．．．．．．．．．．．．．．．⋯．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．40REFERENCES42 ChapterOnelNTRODUCTION1．1NeedforthestudyMoYah,bornin1955，isoneofthemostwidelyreadandestablishedwritersinthecountry．Literarycriticshavedubbedhiswritingaspowerful，visualandbroad,withastrongemphasistowardhistory,fantasyandstoriesofChinaanditspeople．Andin2012，MoYanwonthe2012NobelPrizeinLiterature．HeiSthefirstmantowinthishonorinchinaanditcausedapublicationsensationinChina．Uponthisexhilaratingnews，manycitizensrushtothebookstoreorsupermarketsfortheworksofMoYan．AndmanycannotgetthebookstheydesiredbecausehisbookssellSOwellinChinathattheyareoftenoutofstock．ThisinevitablyarousessomeinterestinthestudyofMoYah’Sworkasitishumannaturetochaseafterthelatestfad．AndthestudyofMoYan’Sworksisofgreatsignificance．Thisisthefirstpointastothereasonforthecurrentstudy．AnotherfactwehavetobemindfulofisthatthedistinguishedtranslatorofMoYan’Sworks，HowardGoldblatt，thenotableAmericantranslator,deservessomeofthecredit．Withouthissuccessfulintroduction．MoYah’Sworkswouldn’thavereached,letalolleinfluencedthewesternworld．Sosecondly,thisthesiscouldserveasanadditionalstudyonHowardGoldblatt．TheAmericansinologisttravelsfreelybetweentwolanguageandtwocultures．Hisbilingualandmoreimportantly,biculturalcompetenceenablehimtotranslatemanyoftheworksofcontemporaryChinesewriters，includingMoYan．Duetohisexcellenttranslation，manyoftheChinesenovelsarewellreceivedinthewestcountries．Hehasmadegreatcontributionstocross—culturalcommunicationbetweenChinaandwesterncountries．RedSorghumisMoYan’SfirstnoveltobetranslatedintoEnglishandisperhapshisbestknownnovelontheinternationalstage．AstudyoftheEnglishtranslationoftheRedSorghummayoffersomeinsightsintowhatkindoftranslationsarepopularamongthewesternreaders，thusofferingsomeusefulsuggestionsandadvicesforfuturetranslatorsofChineseliterature． Lastbutnotleast，thisthesisattemptstoanalyzethepurposeoftranslationduringProfessorHowardGoldblaR’StranslatingoftheHongGaoLiangJiaZuandsummarizethetranslationstrategiesadoptedbeforeandduringthetranslationprocess，whichisawholenewresearchtopicworthstudying．1．2ResearchStatementThisthesisattemptstodiscussthetranslationstrategiesandtechniquesadoptedbythechieftranslatorofChineseliteratureHowardGoldblattfromaskopospoilltofview．Tothisend，theskoposoftheRedSorghum(translatedbyHowardGoldblatt)willbeidentified；thesubsequentlyderivedtranslationstrategiesandtechniquesareundertheguidanceofidentifiedskopos．1．4ResearchMethodologyPunch(1998)distinguishestwocategoriesofresearch，quantitativeandqualitative．Thepurposeofquantitativeresearchistotestifydifferentkindsofassumptionsconcerningtheconfinnedvariablesinresearchreference．Qualitativeresearchfocusesondecidingwhatvariablesneedtobefurtherresearchedandformingtestablehypothesesforfutureresearch．Qualitativeresearchisoftenadoptedfortentativestudies．Althoughthesetwotypesofresearchesdifferfromeachotherinfunctionandapproach，theyarecloselyrelatedandcomplementeachother．Adescriptive—explanatorymethodalongwithacasestuaywillbeadoptedinthisthesis．Thisthesis，bycomparingtheST(sourcetext)HongGaoLiangandtheTT(targettext)RedSorghum：AnovelofChina,discussesthetranslationstrategiesemployedaswellaswhetherornottheyhavereacheddesiredeffects．FortheundesirabletargettextsCanKaoXiaoXiproduced，thisthesisgivesatentativemodifiedversion．1．5StructureoftheThesisThethesistobewrittenmayroughlybedividedintofivechaptersanditsstructureisdesignedtobeasfollows．ChapterOneservesasanintroductiontothewholethesis．Itwillidentifytheneedforthestudy,researchstatement，researchmethodologyandstructureofthethesis．2 ChapterTwowill，firstofall，willprovideinformationaboutMoYah,the2012NobelPrizewinnerandhisRedSorghum．ThenfollowsadetailedintroductionaboutthefamoustranslatorHowardGoldblatt,whodeservessomeofthecredit．Threereviewstheimportanttheoriesontranslationstudies：Skopostheory．Skopostheoryservesastheguidingprincipleunderwhichthestrategiesarederived．FourwillanalyzethetranslationpurposesofGoldblatt’SRedSorghum，thetranslationstrategiesadoptedbasedonadescriptiveandexplanatorystudyofthetranslatedEnglishversionoftheRedSorghumfromthestructuralandlinguisticlevel．．Intheendingchapter，aconclusiononthebasisofthepreviousanalysiswillbedrawn．Furthermore，thischapterwillalsopoilltoutthelimitationsofthecurrentstudyandmakesomesuggestionsforfurtherstudy．3 ChapterTwoLlTERATUREREVIEWInthischapter,theauthorattemptstopresentareviewofthetheoriesregardingliterarytranslation，thatis，skopostheory．2．1SkoposTheory2．1．1AnIntroductiontotheFunctionalistTranslationTheoryInthepast，peoplealwaysviewtranslationasacode-switchingprocess．Andintheeyesofthelinguistictheorists，targettextsthatfailtocorrespondtosourcetextarenon-translation．Asthedisciplineoftranslationstudiesdevelop，itiswidelyacknowledgedthatinagreatmanycasesnon—equivalenceintranslationisnotonlyinevitablebutalsonecessary．AsVermeerpointsout，“Linguisticsalonewon’thelpUS．First，becausetranslationisnotmerelyandnotevenprimarilyalinguisticprocess．Secondly，becauselinguisticshasnotyetformulatedtherightquestionstotackleourproblems．Solet’Slooksomewhereelse．”Actually，the1970sand1980ssawamoveawayfromthestaticlinguistictypologiesoftranslationshiftsandtheemergenceandflourishinginGermanyofafunctionalistandcommunicativeapproachtotheanalysisoftranslation．Thisisthefamousfunctionalistschool，headedbyskopostheory．Nextinordertogetanoverallviewofthecentralthoughtsandideasofthisschool，wewilllookat：1．KatharinaReiss’Searlyworkontexttypeandlanguagefunction；2．JustaHolz—Manttari’Stheoryoftranslationalaction；3．HansVermeer’SskopostheorywhichcenteredonthepurposeofTT；4．ChristianeNord’Smoredetailedtext-analysismodelwhichcontinuedthefunctionalisttraditionalinthe1990s．GermanscholarKalrinaReiss’Sworkinthe1970sbuildsontheconceptofNida’Slinguistic—levelequivalence，butviewsthetext，ratherthanthewordorsentence，asthelevelatwhichcommunicationisachievedandatwhichequivalencemustbesought4 (Reiss1977／89：113—14)，whichconstitutesamajorstepforwardsinceitmovestranslationtheorybeyondaconsiderationoflowerlinguisticleveltowardsaconsiderationofthecommunicativepurposeoftranslation．InherbookPossibilitiesandLimi如ofTranslationCriticism,whichwaspublishedin1971，sheintroducedamodeloftranslationcriticismderivedfromthefunctionalrelationshipbetweenthesourcetextandthetargettext．Inheropinion,agoodtranslationistheoneinwhichtargettextaimstobeequivalentwiththesourcetextintermsofconceptualcontent,linguisticformandcommunicativefunction．SheborrowsKarlBuhler’Sthree-waycategorizationofthefunctionsoflanguageandcategorizesthreetexttypes．Mundaysummarizesthefeaturesofthethreetexttypesasfollows：·Plaincommunicationoffacts：information，knowledge,opinions，etc．Thelanguagedimensionusedtotransmittheinformationislogicalorreferential，thecontentor‘‘topic’’isthemainfocusofthecommunication,andthetexttypeisinfoITllative．·Creativecomposition：theauthorusestheaestheticdimensionoflanguage．Theauthororsenderisforegrounded，aswellasthefbrmofthemessage,andthetexttypeisexpressive．·Inducingbehavioralresponses：theaimoftheappellativefunctionistoappealtoorpersuadethereaderorthereceiverofthetexttoactinacertainway．Theformoflanguageisdialogic，thefocusintheappellativeandReisscallsthistexttypeoperative．·Audiomedialtexts，suchasfilmsandvisualspokenadvertisementswhichsupplementtheotherthreefunctionswithvisualimages，music，etc．(Munday,73)Reisssuggests‘specifictranslationmethodsaccordingtotexttype’，thatis，first,forinformativetext，thetranslationshouldbeinplainprose，avoidingredundancy．Thetranslatorshouldtryhisorherbesttoconveythefullreferentialandconceptualcontentofthesourcetextandnotavoidtheuseofexplicitationwhenitisrequired．Secondly,forexpressivetext，thetranslatorshouldtryhisorherbesttotransmittheaestheticandartisticformofthesourcetext．Thetranslatorshouldadoptthestandpointofthesourcetextwriter,usingthe‘identifyingmethod’．Thirdly，theoperativetextshouldbe5 translatedinawaythatsameresponseshouldbeproducedonthesourceetxtreadersasthoseofthetargettextreaders．Thetranslatorshouldemploythe‘adaptive’metho&creatinganequivalenteffectamongtargettextreaders．Fourthly,inthecaseoftranslatingaudio-medialtexts，asupplementarymethodisrequired，whichmeansthatwordsshouldbesupplemented诵tllcorrespondingvisualandaudiomaterial．Reisshasmadegreatcontributionstothedevelopmentofskopostheory．However,therehavebeensomecriticisms，suchaswhythereshouldonlybethreetypesoflanguagefunction,howthetranslationmethodsReissproposedaretobeappliedinthecaseofaspecifictextorincaseswherethetextsarehybridsofseveralcategories，etc．ProposedbyJustaHolz-Manttari，translationactionmodelborrowsconceptsfromcommunicationtheoryandactiontheory．Itmajoraim，amongstothers，istoprovideamodelandguidelinesthatareapplicabletoawiderangeofprofessionalsituations．Translationactionviewstranslationaspurpose-driven，outcome-orientedhumaninteractionandfocusesontheprocessoftranslationasmessage—transmittercompoundsinvolvinginterculturaltransfer：ItisnotabouttranslatirIgwords，sentencesortextsbutitisineverycaseaboutguidingtheintendedCO—operationoverculturalbarriersenablingfunctionallyorientedcommunication．(Munday,77)Holz-Manttaridescribesinterlingualtranslationas‘translationalactionfromasourcetext’andasacommunicativeprocessinvolvingaseriesofrolesandplayerssuchastheinitiator,thecommissioner,thesourcetextproducer,thetargettextproducer,thetargettextuserandthetargettextreceiver．Intranslationactiontheorythefocusisonproducingatargettextthatiscommunicativefromtheperspectiveofthereceiver．Tobemorespecific，itholdsthatwhatissuitableintargettextculture，ratherthanthesourcetextculture，shoulddecidetheformoftargettext．Andwhatisfunctionallysuitablehastobedecidedbythetranslator,whoistheexpertintmnsnationalactionandwhoseroleistomakesurethattheinterculturaltransfertakesplacesatisfactorily．ThevalueofHolz—Manttari’Stheoryistheplacingoftranslation(oratleasttheprofessionalnon-literarytranslationwhichshedescribes)withinitssocioculturalcontext，includingtheinteractionbetweenthetranslatorandtheinitiatingsituation．6 Skoposwasintroducedintotranslationtheoryinthe1970sbyHansJVermeer．Itisatechnicaltermmeaningthepurposeoftranslationandoftheactionoftranslating．AccordingtoVermeer,anyformoftranslationalaction,includingthereforetranslationitself,maybeconceivedasanaction，asthenameimplies．Anyactionhasanaim,apurpose．Underskopostheory,thepurposeofthetranslationdeterminesthetranslationmethodsandstrategiesthataretobeemployed,namely‘theendjustifiesthemeans’．Anditisnotthesourcetextorthetexttypethatdeterminesthepurposeofthetranslationbutthetranslationinitiator,iethepersonwhocommissionsthetranslation．Thetranslationinitiator,inanidealcase，wouldprovideinformationofaddresses，time，place，occasionandmediumofthetargettext,allofwhichconstitutestranslationbriefInherTextAnalysisinTranslation(1988／91)，ChristianeNordpresentsmoredetailedfunctionalmodelwhichincorporateselementsoftextanalysis，whichexaminestextorganizationatorabovesentencelevel．Shefirstmakesadistinctionbetweentwobasictypesoftranslationproductandprocess，thatis，documentarytranslationandinstrumentaltranslation．TheprimaryaimofNord’STextAnalysisinTranslationistoprovidetranslationstudentswithamodelof’STanalysiswhichisapplicabletoalltexttypesandtranslationsituations．ThismodelhelpunderstandthefunctionoftheSTfeaturesandselecttranslationstrategiesappropriatetotheintendedpurposeofthetranslation(Nord1991：1)．Andinher1977book,TranslatingasaPurposefulActivity,Nordproposesamoreflexibleversionofthemodel．Inthisnewversion,‘threeaspectsoffunctionalistapproachesthatareparticularlyusefulintranslatortraining(1997：59)arehighlighted，theyaretheimportanceofthetranslationcommission(or‘translationbrief，asNordtermsit)；theroleofSTanalysis；thefunctionalhierarchyoftranslationproblems．2．1．2SkoposTheoryandItsRulesSkopos，Greekwordmeaningaimorpurpose，WasintroducedintotranslationtheorybyHansJVermeer．Inskopostheory,itisofcrucialimportanceforthetranslatortoknowwhyanSTistobetranslatedandwhatthefunctionoftheTTwillbe．ThemajorworkonskopostheoryisGroundworkforaGeneralTheoryofTranslation，whichiscoauthoredbyVermeerandhisteacherKatharinaReiss．Inthisbook,thebasicunderlyingrulesoftheskopostheoryaresummarizedasfollows：7 Atranslatum(orTT)isdeterminedbyitsskopos．targettextisarlofferofinformationinatargetcultureandtargetlanguageconcerninganofferofinformationinasourcecultureandsourcelanguage．targettextdoesnotinitiateanofferofinformationinaclearreversibleway．targettextmustbeinternallycoherent．targettextmustbecoherentwiththeS01Lrcetext．Thefiverulesabovestandinhierarchicalorder,withtheskoposrulepredominating．(ReissandVermeer,119)Now1willelaboratetherulesoftheskopostheoryonebyone．Ruleonemeansthattranslationisapurposefulactivity；eachtextisproducedforagivenpurposeandshouldservethispurpose．RuletwoisveryimportantasitrelatestheSTandTTtotheirfunctionintheirrespectivelinguisticandculturalcontexts．Thetranslatorisonceagainthekeyplayerinaprocessofinterculturalcommunicationandproductionofthetranslatum．Rulethreeindicatesthatthefunctionofatargettextinitstargetcultureisnotnecessarilythesameasthesourcetextinitssourceculture．Rulefourandfivetouchongeneralskopos‘rules’conceminghwthesuccessoftheactionandinformationtransferistobejudged：thecoherenceruleandfidelityrule．Coherencerule，linkedtointernaltextualcoherence，requiresthatthetargettextsbetranslatedinsuchawaythatitiscoherentforthetargettextreceivers，giventheircircumstancesandknowledge．AsReissandVermeerputit，‘'thetargettextmustbeinterpretableascoherentwiththetargettextreceiver’Ssituation．(ReissandVermeer,1984：113)Thefidelityrule，linkedtointer-textualcoherence谢tllthesourcetext．concemstherelationshipbetweenSOurCetextandtargettext．Tobemorespecific，theremustbecoherencebetweenthefollowingthreeparts：thesourcetextinformationreceivedbythetranslator；,theinterpretationthetranslatormakesofthisinformation；theinformationthatisencodedforthetargettextreceivers．However,thehierarchicalorderoftherulesmeansthatmeansthatthecoherencerule(intra—textualruleorrulefour)isofmoreimportancethanthefidelityrule8 (inte卜textualruleorrulefive)．Andbothrulefourandrulefivearesubordinatetotheskoposrule．Thisdownplayingofthestatusofthesourcetextisageneralfactofbothskopostheoryandtranslationalactiontheory．Anobviousadvantageofskoposruleisthatitlaystheoreticalgroundsforthesamesourcetexttobetranslatedindifferentwaysaccordingtothepurposeofthetargettext．InVermeer’Swords：Whattheskoposstatesisthatonemusttranslate，consciouslyandconsistently,inaccordance诚thsomeprinciplerespectingthetargettext．Thetheorydoesnotstatewhattheprincipleis：thismustbedecidedseparatelyineachspecificcase．(qtd．InMunday，80)Accordingtotheskopostheory,theskoposneedstobestatedexplicitlyorimplicitlyillthecommissionSOthatthetranslationalactionisappropriateforthespecificcase．AndaccordingtoVermeer,thecommissionshouldcompriseagoalandtheconditionsunderwhichthatgoalshouldbeachieved(includingdeadlineandfee)，bothofwhichshouldbenegotiatedbetweenthecommissionerandtranslator．Andthetranslator,astheexpertininter-culturaltransmission,shouldbeabletoadvisethecommissionerorclientonthefeasibilityofthegoal．Vermeerbelievesthenatureoftargettextisdeterminedprimarilybytheskoposorcommission，andthatadequacyoverrideequivalenceasanimportantmeasureoftranslationaction．AccordingtoReissandVermeer,adequacyisconcerned诵ththerelationsbetweenSOurcetextandtargettext勰aconsequenceofobservingaskoposduringthetranslationalprocess．InNord’Swords,adequacydescribes‘'thequalitiesofatargettextwithregardtothetranslationbrief．translationshouldbeadequatetotherequirementsofthebrief’．(Nord,35)．Toputitsimply,ifthetargettextfulfillstheskoposoutlinedbythecommission,itisfunctionallyandcommunicativelyadequate．EquivalencereferstothefactthatSOurcetextandtargettextshouldbefunctionallyconstant(thosecaSeswherethefunctionisthesameforbothsourcetextandtargettext．2．1．3CriticismsoftheSkoposTheoryCriticismshavebeenraisedatthetheoreticalfoundationsandapplicabilityoffactionalistapproachesingeneralandSkopostheorieinparticular．InherbookTranslatingasaPurposefulActivity：FunctionalistApproachExplained,ChristineNord9 devotesawholechapterconcerningcriticismsoverthefunctionalistapproachesandtheskopostheorie．Inthisbook，sheoutlinestencriticismsandanswerthemonebyonefromthepointofSkopostheorieandrelatedfunctionalapproaches(particularlyherown‘functionplusloyalty’model)．Thetencriticismsare"Criticism1：Notallactionshaveanintention；Criticism2：Notalltranslationshaveapurpose；Criticism3：Fuctionalapproachestransgressthelimitsoftranslationproper；Criticism4：Skopostheorieisnotanoriginaltheory；Criticism5：Functionalismisnotbasedonempiricalfindings；Criticism6：Functionalismproducesmercenaryexperts；Criticism7：Functionalismdoesnotrespecttheoriginal；Criticism8：Functionalismisatheoryofadaptation；Criticism9：Functionalismdoesnotworkinliterarytranslation，Criticism10：Functionalismismarkedbyculturalrelativism．Nord(1997：109—22)andSchaffner(1997：237—8)discusssomeofthecriticismthathavebeenmadeofskopostheorybyotherscholars．·Theseincludethefollowing：1．Whatpurportstobea‘general’theoryisinfactonlyvalidfornon-literarytexts．Literarytextsareconsideredeithertohavenospecificpurposesand／ortobefarmorecomplexstylistically．2．Reiss’StexttypeapproachandVermeer’Sskopostheoryareinfactconsideringdifferentfunctionalphenomenaandcannotbelumpedtogether．3．SkopostheorydoesnotpaysufficientattentiontothelinguisticnatureoftheSTnortothereproductionofmicrolevelfeaturesintheTT．Eveniftheskoposisadequatelyfulfilled．itmaybeinadequateatthestylisticorsemanticlevelsofindividualsegments．2．2IntroductiontoMoYanandHisNovelHongGaoLiangJiaZuMoYan，anativeofGaomiinShandongprovince，isawell-knownandwidely-readwriterathomeandabroad．Actually,hejustwontheNobelPrizeinliteratureandisthefirstpersoninChinatowintheNobelPrizeinliterature．MoYan，meaning“don’tspeakorshutup”inChinese，ishispseudonym．Therealnameofthe57-year-oldisGuanMoye．Sincethe1980，hehasbeenproducingasteadyoutputoffictionsandhisworkshavebeentranslatedinmanyforeignlanguagessuchasEnglish，French，Germany,Italian，Japanese，Spanish，Hebrew,Swedish，etc．HismajorworksincludeTheGarlicBallad；TheRepublicofWine；Shifu，You’11DoAnythingforaLaugh；RedSorghum；LifeandDeathareWearingMeOut；BigBreasts&WideHips，tonanlejustafew．TheNobelPrize Committeepraisedhisworksas‘q'hroughamixtureoffantasyandreality,historicalandsocialperspectives，MoYanhascreatedawoddreminiscentinitscomplexityofthoseinthewritingsofWilliamFaulknerandGabrielGarciaMfirquez，atthesametimefindingadeparturepo硫inoldChineseliteratureandinoraltradition．”MoYan’SHongGaoLiangJiaZuisarepresentativeworkoftherootseekingliterature．What’Srootseekingliterature?Here1willbrieflyintroducetherootseekingliteratureinChina．Originatedatthebeginningofthe1980s，therootseekingliteraturereacheditsclimaxandebbedinstantlyduringthemidandlaterperiodofthe1980s．Theartistictenetofthisliteraryschoolisto‘‘excavatenationalculturalresources’’and“re-forgethenationalculturaladvantage'’．ThefamousliterarycriticLeiDanamedthemainstreamliteratureofthispenodas"adiscoveryandreforgingofthenationalculture'’，“anaturalphenomenoninwhich‘‘thewakingofpeople(self-awarenessoftheChinesepeople"combinesthe‘‘wakingofliterature(modemliteraturegetsridsofitsreliabilityandbecomesindependent)．”Rootseekingliteraturebo玎owstheartisticideassuchasma#calrealism，surrealism,ima#smandstreamofconsciousnessfrommodernistfictionandoftenemploystechfiiquessuchasmetaphor,hyperbole,symbolismandirony,etc，tryingtodepicttheprofoundandfar-reachingChinesesocialandhistoricalcultureaswellasthevariedregionalculture．Theemergenceoftherootseekingliteratureiscloselyrelated砸ththeChinesesocialandculturalenvironmentbackthen,thetraditionalChinesecultureandtheinfluenceofthemagicalrealismprevalentinLatinAmerica．ThefamousscholarXuZidongsortoutthreedevelopmentcoursesoftherootseekingliterature：Ⅱleyare,numberone，toreexamineandsortoutthenationalculturalbackboneaftertheCulturalRevolutionortoexaminetheharmbroughttotraditionalChineseculturebymodem“revolution”．Numbertwo，toexaminetheunderlyingreasonsforpoliticalturmoilfromtheperspectiveofthetraditionalculturalandnationalmentality．Numberthree，toseek“nationalroots’’or“morality'’duringthe“crisis’’ofthemodernizationofthesocietysoastosavemodem(urban)culturefromdegradationandsavethepeoplefromthespiritualdilemma．MoYan‘SHongGaoLiangJiaZuisarepresentativeworkthatfollowstheabove-mentionedcourse．In1987，MoYanpublishedHonggaoliangjiazu(Eng．RedSorghum)，anovelsetinhisShandonghometownofNortheastGaomiTownship．Relatingthestoryofapeasantfamilyfrom1923to1976， thisfirstnovelisaboutthehardships，love，hatred,andadventuresofthepeasantsofShandong．Proudlyrecallingtheheroicexploitsofhisgrandparents，thefirst-personnarratorbeginsthestoryofhisfamilyintheyear1939，whenhisfatherandgrandfathersetouttoambushJapanesesoldiersontheeveofWorldWarII．Thewritingofhistoryinnovelbeginswiththeblurringofboundariesbetweenpastandpresent．deadandliving，aswellasgoodandbad．MoYanreconstructshistorybysubvertingthebinaryoppositioncommonlyfoundinthewritingsoftheMaoistperiod．Inrevolutionaryfiction,MaoandhisCommunistPartybattletheenemy,inspiringordinarycitizenstorescueChinafromenemies，foreignanddomestic．Traitorsandcowardsareinvariablypunished，andtheforceofjustice，theCommunistcamp，isalwaysvictorious．MoYan，however,writesabouthistoryinadifferentmanner．Forhim，heroesCallbefoundamongthecommonpeople．HereIborrowDavidWang’Swords：”MoYanseeshisfamilymembersonalarger-than—lifescale，judgingthemnotbywhattheydobutbyhowtheyCaH'youttheirdeeds．”ForMoYan，NortheastGaomiisaparadox，”easilythemostbeautifulandmostrepulsive，mostunusualandmostcommon，mostsacredandmostcorrupt，mostheroicandmostbastardly，hardest-drinkingandhardest-lovingplaceintheworld．”Onenigmaticland，MoYancreatesapatriarch，Granddad，withconflictingattributes．Heisatoncealaborer,amurderer,anadulterer,abandit，andaherooftheanti—Japaneseresistance．SuchanimageprovidedacompletelynewreadingexperienceforthecontemporaryChinesereader．PriortoandduringtheCulturalRevolution(1966—76)，fictionalcharacterswereinvariablyblackandwhite．Revolutionaryheroesweredepictedasfiat，stylizedcharacters，ratherthanasrealhumanbeings．Theywere,inotherwords，deprivedofallhumanneedsanddesires，whichwereregardedasvulgar．’’Bad”characters，ontheotherhand，wereutterlyevil，villainouswithnoredeeminggraces．MoYan’SconflictingimageofGranddadWascompletelynewtotheChinesereaderofthe1980s．Theportrmtofthenarrator'sgrandmotherisalsohighlyunconventional．NolesscomplexthanGranddad，asawomanwhoisdeterminedtodecideherownfate，shedefiestraditionalmoralvalues．Whenshelearnsthatherparentshavemarriedhertoaleperinexchangeforamule，sherebelsbyhavinganaffairwithGranddad，wholaterkillsboththeleperandhisfather．Grandma'sdyinginteriormonologuesummarizesher12 shortlife：HaveIsinned?Wouldithavebeenrighttosharemypillowwitllaleperandproduceamisshapen,putridmonstertocontaminatethisbeautifulworld?晒afischastitythen?Whatisthecorrectpath?Whatisgoodness?Whatisevil7Younevertoldmc’SOIhadtodecideonmyown．Ilovedhappiness，Ilovedstrength,Ilovedbeauty；itWaSmybody,andIuseditasIthoughtfitting．Sindoesn'tfrightenme，nordoespunishment．I'mnotafraidofyoureighteenlevelsofhell．IdidwhatIhadtodo；ImanagedasIthoughtproper．Ifearnothing．Thenovelbrims诚tllnostalgia,ade印venerationtowardancestorsandthehistorytheycreated．MoYanhascreatedafatherlandfilledwithmasculinepowerandbeauty．刃船genderhierarchyisobvious．砀efatherfigureisdominantthroughoutthebook,andevellDouguan,thenarrator'stitther,thenateenager,isalittlemanofiron．Furthermore，thefemaleprotagonist,Grandma,isinfactmasculinized．Hergrandson，thenarrator，employsthephrase’’aheroamongwomen”(nuzhonghaojie)，toendorseher,carryingtheimplicationthatsheisamanlikewomanwhosepursuitoffreedomisrareamonghersisters．Grandmaisatraditionalwomanwholongsfor”agoodhusband，handsomeandwelleducated,amallwhowouldtreathergently”(40)．Shealsoyearnsto”loseheranxietiesandlonelinessinthearmsofaslrongandnobleyoungmall”(40-41)．Obviously,hercontrolOVClrherOWnfateisreducedtochoosingtherightman．Inotherwords，heremancipationisbyandlargefulfilledthroughanillegitimateliaisonwithGranddadinthesorghumfield．Letmebemoreconcrete．Grandmaisdeterminedtodefendherchastity,andsuccessfullydoesSOonthefirsttwonightsafterhermarriagetotheleper,armedwitllapairofscissors．TraditiondemandsthatthebridevisitherpaternalhomeOnthethirddayofhermarriage．Onherwaybacktoherhusband’Sfamilyafterthevisit,sheisabductedbyoneofthesedancarriers，whohadalreadyimpressedherOnherweddingdaybyhischivalry．Theywindupinasorghumfield,whereshemakesapresentofherchastitytohim．TllisyoungmallbecomesthecelebratedGranddadlaterinthestory．Consequently,Grandma'sbrillianceanduniquenessonlyserveasafoiltotheimageofGranddad．Moreover,hervoiceissilenced,sincesheisdeprivedoflifeattheageofthirty．Thewritingofherfamilyhistoryisthuscardedonbyherhusband，herson，and13 hergrandson．Ironically,this”hemamongwomen”turnsouttobeavictimofmen：herhusband，herson，andJapanesesoldiers．Herhusbandandsonareactuallythemenwhocausedeath，withoutbeingawareofit，byexposingtoJapanesebulletsduringtheambush：itisGranddadwhotellstobringlunchtotheambuscadeinperson，andDouguan，herson，whocriesoutatthesightofher,thusmakingthefirsttargetinthisbattle．AsforthebookRedSorghum，therearesomebookreviewsorcomments：1．“Spanningthreegenerations，RedSorghum，anoveloffamilyandmyth，istoldthroughaseriesofflashbacksthatdepicteventsofstaggeringhorrorsetagainstalandscapeofgemlikebeauty,astheChinesebattlebothJapaneseinvadersandeachotherintheturbulentwaryearsofthe1930s．AlegendinChina,whereitwonmajorliteraryawardsandinspiredtheOscar-nominatedfilm，RedSorghumisabookinwhichfableandhistorycollidetoproducefictionthatisentirelynewandunforgettable．”--www．randomhouse．CO．uk2．“PowerfulnewvoiceonthebrutalunrestofruralChinainthelate20’Sand30’S．MoYan’Sdebutnovel(andfirstUSpublication)Wasthebasisofa1988Oscar-nominatedfilm．Amemberoftheyoung”root—seeking’’writerswhosefocusistheChinesecountryside，MoYantellsthestoryofthreegenerations—simultaneously、、mostheroicandmostbastardly'’--caughtupintheseturbulentyears．Setinaregionwherethesorghumisgrown，thetale’Sasmuchafamilyhistoryasthestoryofaparticulartimeandplace—aplacewheretheredsorghum，which、、formsaglitteringSeaofbloodandisthetraditionalspiritoftheregion，¨isalsoametaphorforchangeandloss．ThenovelopensasagroupofvillagersledbyCommanderYu，thenarrator'sgrandfather,preparetoattacktheadvancingJapanese．Yusendshis14-year-oldsonbackhometogetfoodforhismen；butasYu’Swifereturnsthroughthesorghumfieldswiththefood,theJapanesestartfiringandshe’Skilled．Herdeathbecomesthethreadthatlinksthepasttothepresentasthenarratormovesbackandforthrecordingthewar'sprogress，thefightingbetweenrivalChinesewarlords，andthehistoryofhisfamily．CommanderY砘aformerbandit，hadfalleninlovewithhiswifewhenshewastheyoungbrideoftherichsonofadistilleryowner．Yuhadmurderedthehusband，andthismurderisoneofmanyinacycleinwhichbrutalityandbetrayalalternatewithloveandsacrifice．Inthe1970’S，thenarratorreturns14 topayhisrespectsthefamilygraves--onlyfindthattheredsorghum，、、ourfamily'sglorioustalisman,”replacedbyagreenhybrid,、、hasbeendrownedinaragingfloodofrevolutionandnolongerexists．”Graphicscenesofviolencebecomenumbinglyrepetitive，butMoYantempershisbrutaltalewithapowerfullyevocativelyricism．Anotablenewarrival．”一FromKirkusReviews3．“ThoughthisisthefirstofMoYan'snovelsbetranslatedintoEnglish，manyAmericansknowhisworkfromthefilmRedSorghum,winneroftheSilverBearatthe1988BerlinFilmFestival．Thefour-chapternovelspans40yearsinruralChinathroughflashbacksandforeshadowing，beginning砸ththeJapaneseinvasioninthe1930s．Sorghum，usedasfoodandasaningredientofapotentwine，hadbeenthefocusandmetaphorofpeasantlifeduringpeacetime．Inwartime，itbecomesintertwinedwiththestruggleforlife．Deathpervadesthisnovel-deathbrutallydealtbyJapanesetroops，byfactionswithinChina,bycrazeddogpacks；deathfromsuicide,starvation,andfi'eezing．Thestrengthandloveofthenarrator'sgrandmotherandherloverinsurethecontinuationoftheirlineagainstallodds．Buttheycannotpreventthelaterintroductionofahybridsorghumintotheirvillagethatlacksthe”soulandbearing”ofprerevohtionsorghum．'乙■’romLibraryJournal4．‘AnovelthatexploresingreatandcompellingdetailthefratricidalviolencethatengulfsthreegenerationsofasingleChinesefamily⋯NotsinceD．H．Lawrence’STheRainbowhasthenaturalworldsoeffectivelyaidedandabettedthethemesofaworkoffiction．’一FinancialTimes5．“MoYanbrilliantlyandfondlyre-createslife⋯withvisceralwritingthatreeksofgunpowder,blood,anddeath．”一刀lPNewYorkITmesBookReview6．'Hisimageryisastounding，sensualandvisceral．Hisstoryiselectrifyingandepic．ItisunlikeanythingthatI'vereadcomingoutofChinainpastorrecenttimes．’一AmyTan7．‘MoYandeservesaplaceinworldliterature．Hisvoicewillfinditswayintotheheartofthereader,justasKunderaandGarciaMarquezhave．’一AmyT觚2．3ResearchonHowardGoldblattandhistranslations2．3．1AbriefintroductionHowardGoldblattTheproblemofmarketingChineseliteraryworksinforeigncountrieshaslongsince15 troubledtheliterarycircle．Unlikeotherproducts，literaryworksneedstobeprocessedortranslatedinordertoberecognizedandacceptedbywesterners．SomebookssellextremelywellinChinabutarenotknownoutsideChina．TranslationisailinevitableprocessforChineseliteraturetogoglobalandgainapositionandevenstandoutinworldliterature．Inwesterncountries，theinfrequenceofaforeignwriter’SworkwillbequitelimitedifhisorherworkcouldnotbetranslatedintoEnglishsinceEnglishCanberegardedasalinguafranca．TheEnglishversionCannotonlybemarketedintheenglish0一epakingcountriesbutCanalsobetranslatedintootherlanguages．Thus，goodliterarytranslatorsareingreatdemand．ProfessorHowardGoldblattisoneofthefewexperttranslatorsthathavecontributedalottothefieldofliterarytranslation．HeisthemostactiveandaccomplishedtranslatorthathavetranslatedmodemandcontemporaryChineseliteratureintoEnglish．Travelingfreelybetweentwolanguagesandtwocultures，ProfessorHowardGoldblattisregardedas‘thechieftranslatorofmodemandcontemporaryChineseliterature’．Actually,HowardGoldblatthastranslatedoverfiftyvolumesofChinesefiction，memoirs，andpoetry,includingmanyofthemostcelebratedmodemChineseauthors：MoYan，YuHua,SuTong，BiFeiyu，ChenRong，andSOmanymore．MostreadersandscholarswoddagreethatnoothermodemfigurehasdonemoretointroduceChineseliteraturetoEnglishreadersthanHowardGoldblaR．AssinologistChristopherLupkecomments”⋯whorendersthatworkintootherlanguagesandshepherdsitsdisseminationtothebroadercommunity．Whenitcomestomodem，andparticularlycontemporary,Chinesefiction，therehasbeennomoreassiduousashepherdintoEnglishthanDr．HowardGoldblatt，ResearchProfessorEmeritusattheUniversityofNotreDame，knownintheChinese—speakingworldasGeHaowen⋯’’2．3．2AglimpseintothetranslationalthoughtsofHowardGoldblattFollowingaresomewordsquotedfromHowardGoldblatt．Bycloselyexaminingthem，wemaycatchaglimpseintohistranslationalthoughts．Andforeachparagraphofwordsthathesaid．1willtrytoanalyzeeachparagraphonebyoneandextractthetranslationalthoughtsofHowardGoldblatt．ProfessorHowardGoldblattoncesaidsomethingtotheeffectthathebelieves，likeaneditor；thetranslator'sprimaryobligationistothereader,notthewriter．Hesaidthatalotofpeopledon’tagree．especiallywriters．Butheinsiststhatweneedtoproduce16 somethingthatcanbereadilyacceptedbyanAmericanreadership．HenotesthatHaJinCangetawaywithwritingunidiomaticEnglishandmanypeoplearecharmedbyit，butatranslator'sEnglishisexpectedtobeidiomaticandcontemporarywithoutbeingflashy．FromthesewecanseethatGoldblatttendstoproducetranslationsthatalereadilyaccessibletoreaders，orinotherwords，smoothandfluent．AsaChinese-Englishtranslator,hethinksthebigproblemisnotknowingChinesewellenoughandnotknowingEnglishwellenough．Actually,notknowingChinesewellenoughisn'tab／gproblem--youCanalwaysasksomeone．Youcanaskyourauthor,youCanaskyourfriends．Andthethingthat’SreallykillingtranslationinOurfieldisliteralism．ThesewordsshowthatHowardisagainstliteralism，namelythedispositiontotakewordsandstatementsintheirliteralsense．“Idon'tknow,butI'vedonewhatICantopromote，encourage，andapplaudtranslationsbymostlyyoungtranslators．Maybethey'rechoosingthewrongworkstotranslate；maybetheirjobsandavocationske印themfromdevotingenoughtimeandenergytotheenterprise；maybetheyneedtospendmoretimeononeortheotherofthelanguagesinvolved；andmaybeit’11justhappenwhenithappens．’’Howardpaysalotofattentiontotextselectionduringtheprocessoftranslation．Whenitcomestotextselection，hethinksthatthemostimportanttaskoftranslationistosdectapropertext,ratherthantranslatingitself．Andforhim，thetextsthatheselectsmustbeonethatsuitshistasteorthathelikes．Thestyleistheman．Hethinksthattranslatorsshouldselecttexts丽thstylesthatarecompatiblewiththemselves．‘‘Muchhasbeenwrittenaboutthevisibilityorinvisibilityofatranslatorwhentheworkhascrossedlinguistic／culturalborders，forinstance．Imaybenmve，buttome，thetranslatorisalwaysvisibleandalwaysinvisible，andlittlemoreneedbesaid．’’InthisparagraphHowardtall【saboutthevisibilityandinvisibilityoftranslatorsandaccordingtohim,translatorsarebothvisibleandinvisible．‘‘InreceutyearsI'veparticipatedinacoupleofweeklongworkshopsdevotedtoliterarytranslation．Whilesomeoftheparticipantsmaydisagree,inmyview,alotWaslearnedduringaweekinwhichweallcameawaywithmorekeenlyhonedtranslationskillsandbettertoolsthanwe'dstartedoutwith．Buttaught?I'mnotsosure．ItWasmoreanevolutionaryprocess，丽nlplentyofgiveandtake，acommunalattempttoturna17 literarytextintothebesttranslation(notnecessarilythebeststoryorpoem)possible，keepinginmindthatitwillalwaysbeaninterpretivework,anew,ifrelated，text．Rabassasaiditbest：”Apieceofwritingcannotbeclonedinanotherlanguage，onlyimitated．”Inhisopinion，translatingisagiveandtakeprocessandtranslatingisnotinanysensecloningbutimitatingandrewriting．“I'mnotsureifIdo，orwhatitmightbeifIdo，butIhaveanapproach，andagoal．Iapproachatextwithreverence，awe，andexcitement，plusahealthydoseofapprehension．IleaveitasifI'vefoundanewfriend．AsatranslatorIanl，firstandforemost，areader．And,likeallreaders，Iinterpretandtranslate．asIgoalong．ThequestionIaskmyselfis：HaveIgivenmyreadertheopportunitytoeIlioytheworkinmuchthesamewayasareaderoftheoriginalcouldenjoyit?HaveIlettheauthorspeaktothisnewaudienceinwaysthatarenotonlyaccessible，but、)l，itllacommensuratedegreeofpleasureoraweoroutrage，orwhatever?That，incaseyou’repayingattention，ismygoal．’’HereProfessorHowardGoldblattcallsourattentiontoafewquestionstranslatorsneedtoaskthemselvesduringtheprocessoftranslationandstatesclearlyhispurposeorgoaloftranslation．ProfessorHowardGoldblattseldomreadsaworkmorethanoncebeforestartinginonit．Inhisopinion，readinganovelmorethanthatmayincreasetheappreciationandunderstandingofthework，butmaynothelpproduceabettertranslation．“AsI'mreading，evenifIdon’tmakeitallthewaytotheend，Imakenotationswheneverthe”perfect”translationofatermoraphrasepopsintomyhead，butgenerallyIjustreadtogetasenseoftheimpactithasonme，thatandthetoneandstructure．That’Senoughformetogetstarted，fornowIhavetodealwithwordsandsentences，notagrandtext．Sometimes，ofcourse，gettingstarteddoesn'timplyfinishing，sinceImightwellbeproducinganexcerpt,asampleofanywherefromtwentytofiftypagestoshowaprospectiveagentorpublisher；,andthatisneverasurething．Ihavethreeorfourpartialtranslationsinmydrawer,worksthat，toputitbluntly,nobodywanted．I'mafraidthat'swherethey’11stay．Irecently”confessed”tohavingreadanovelforthefirsttimeasIWastranslating．Infact，I'vedonethatmorethanonce，butonlyafterI'vebeenhiredon，asitwere．1wasgladtolearnthatI'mnotalone，thateventhegreatRabassahasdonethesamething．It’Snotamatterofsavingtimeorconvincingmyselfthatit’Sajobworthdoing—otherconsiderationsremove thatpossibility．Rather,itpresentsallopportunitytoexperiencethenovelandinterpretitatthesametime,somethingI'mconvincedCanbringasenseofspontaneitytothework,someofwhichwillremainevenaftercloseeditingthesecondandthirdtimearound．Idon'trecommenditforallworks，butit’saviableoption．Normally,I'mworkingontwoormoretranslationsatthesametime．Not,however’atthesamestage．Focusingonlyononenovel，oftenahefryone，OVeraperiodofmanymonthsCanbestultifymg．ICanstarttoloseinterestinatranslationI'vebeenworkingondayafterdayformonths，orfmdmymoodchanges，andnotforthebeaer．Ineedtogetawayfromitforawhile，andSOIfillinthetimebypuRingfinishingtouchesonanothertranslation，it，too，havingbeenputasideforawhile，orgoingovercopyeditedpages，orreadingforafuturetranslation．Peopleoftenaskmehowlongittooktotranslateaparticularnovd．Iusuallyhavenoidea．”Inthesetwoparagraphs，ProfessorHowardGoldblattexplainstoushisuniquetranslatingprocess．Inordertograspthesenseofimpactatexthasonhim，hechoosestotranslatewhilereadingtheoriginaltext．Hestressesonspontaneityofthework．SomeonehadcomparedProfessorHowardGoldblatttoasurgeon，carefully(ornot)excisingpartsoftextsdispleasehim．ThisWasnotthefirsttimehe'dbeensingledoutf．0rllisapproachtothejob．AFrenchcritic，forinstance，whoknowsnoChinese，pointedoutinanIntcrnetpostingEnglishtranslationsofChinesenovelsareroutinelybowdlerized，unliketheFrench(nottrue，ascomparisonswithFrenchtextsprove，buttheFrench,whatCanyousay?)，andthetargetofcritiqueWasProfessorHowardGoldblatt．“HavenovelsI'vetranslatedbeenshortened?Yes，somehave．Why,andbywhom?Theanswer,inreverseorder,is，byme，becauseIWasaskedtodoSObyapublisher．Infact,onlyfouroftheseworkshavebeennoticeablyshortened．One，ahistoricaltrilogyonHongKong，Wascondensedintoasinglevolumeattherequestoftheauthorandpublisher．SylviaLin，mycotranslatoLspentthebeRerpartofsixmonthswhirlingitdown．TwoofMoYan’Snovelswereshortenedbythepublisher,ArcadeBooks；forone，whichWasratherheavilyedited，Irestoredmorethanhalfthecuts，andthosecutsremainedwereapprovedbytheauthor,whowrote，”Dowhatyoumust，sinceICan’treaditanyway．”IcannotbesurehowwellMoYanmightdowithanaccomplished，confident editorinChina；Icannot．forthatmatter,predictifhe'dagreewimallthechangeshisUSpublishershavemadeinEnglish,butwhentheybuythefights，theycalltheshots．’’ThesewordsofProfessorHowardGoldblaRshowthatinhisopimon，ifnothingelse，atranslatorenjoysthefreedomofinterpretationandneednotshareanauthor'spreferenceinhowtocarryacrossameaningorimage．20 ChapterThreeAnAnalysiSoftheTransIationStrategiesandgethodsintheRedSorghumBasedonSkopostheoryPartthreeisdevotedtoallanalysisoftranslationstrategiesandmethodsusedintheRedSorghumbasedontheSkopostheory．Inthispart，theauthorwilldiscussingreatdetailthetranslationstrategiesandmethodsusedintheRedSorghumbasedOiltheSkopostheoryfromperspectivessuchastranslatingthestructureofHongGaoLiangJiaZu，TranslatingthethemeofHongGaoLiangJiaZu,translatingthespecificwordsandsentencesintheHongGaoLiangJiaZu．3．1TranslatingthestructureoftheHongGaoLiangJiaZu3．1．IThestructureoftheHongGaoLiangJiaZuInfluencedbyLatinAmericanmagicrealism，HongGaoLiangJiaZuboastsanunrestrainedandvigorousstylethatbrimswithtalent．Itisfulloffantasticima#nmionandlegendarycolor．Butjudgingfromitsstructure，itstillbelongstonovelswithrealistplotsthattraditionallyemployplotstopropeltheprogressofthestories．HongGaoLiangJiaZuconsistsoffivelongshorts．tories．TheyareRedSorghum，firstpublishedin1986onthethjrdeditionofthejournalPeople’SLiterature；SorghumWine，firstpublishedin1986onthefourtheditionofthejournalLiteratureandArtofPeople’SLiberationArmy；DogWays，firstpublishedin1986onthefourtheditionofthejournalOctober；SorghumFuneral，fwstpublishedin1986ontheeightheditionofthejournalBeijingLiterature；andStrangeDeath，firstpublishedin1986onthesixtheditionofthejournalKunlun．Sowecouldseethatthesefivestoriesareindependentfromeachothersincetheyarepublishedseparately．However,thereisaninherentlogic2l amongthesefivestories，whichexplainshowthesefivestoriescouldbecombinedtogetherasarelativelycompletefull—lengthnovel．Forthefull—lengthnovel，therearesomenotableflawsaboutitsstructure．Forexample，disordersintime，atonepoiflt,theoldladyis92yearsold,andatanotherpoint，sheis94yearsold，whichisquiteconfusingandbafflingforthereaders．DuringaworkshoporganizedbyLiteratureandArtofPeople’SLiberationArmy,thefamousnovelistLiuXiaobopointsoutthestructuralproblemsofHongGaoLiangJiaZu：‘‘IfattheverybeginningMoYandecidestowriteHongGaoLiangJiaZuintoafull—lengthnovel，itwouldcreateashockingeffect．Buthewroteoneandanotherlongshortstory,thepowerofbeautyiswasheddown，leavinganimpressionofrepetitionuponthereaders．’’MoYanhimselfhasfullythesamefeelingandhasexpressedhisregretaboutthis．Heoncesaidthat：“ForHongGaoLiangJiaZu，structurallythereisnothingcommendableaboutit．BecausewhenIWasworkingonit，Ididnotintendtowriteafull—lengthnovel．1wrotealongshortstory,anditcameoutquitewell，then1wroteoneandanotherandfollowedthesamesetpattern．Asafull—lengthnovel，itsstructureisfarfrombeingmature．Andatleastitlacksoriginality．”Atanothertime，heexpressed'’thegreatestpityaboutHongGaoLiangJiaZuisthatasafull—lengthnovel，itlacksastructuresinceitisacombinationoffivelongshortstories．’’HoweveLMoYanisundoubtedlyageniuswriterwithrichimaginationandgreatconception．ThespecialprogressinwhichHongGaoLiangJiaZucameintobeinghelpmakethisnovelquiteuniqueandspecialinitsstructure．Influencedbywestemnovelists，especiallytheAmericanwriterWilliamFaulkneraswellasLatinAmericanmagicrealism，MoYanemploysmodemnovelwritingtechniquesinadditiontothetraditionalplots．HongGaoLiangJiaZuissuchanexample．Thereareupsanddownsinitsstructureandthesequenceofeventsisdisordered．Insteadofreasonable，logicandcoherentflashbacks，itUSessalutatoryflashbacks．3．1．2TranslationstrategiesandmethodsusedinthetranslatingofthestructureofRedSorghumbasedontheSkopostheoryOfthefivechaptersoftheHongGaoLiangJiaZu，HongGaoLiangisundoubtedlythemostsuccessfulonejudgingeitherfromitsstructureorfromits meaning．ThefeatureofthewholenovelisbestexemplifiedinthechapterHongGaoLiang．Thus，inthefollowingpassage1willfocusonthefirstchapterHongGaoLiang．3．1．2．1．Sub-segmentationwithinthechapterExamplel：“父亲被迷雾扰乱的心头亮起了一盏四块玻璃插成的罩子灯，洋油烟子从罩子灯上盖的铁皮、钻眼的铁皮上钻出来。灯光微弱，只能照亮五六米方圆的黑暗。河里的水流到灯影里，黄得像熟透的杏子一样可爱，但可爱一霎霎，就流过去了，黑暗中的河水倒映着一天星斗。父亲和罗汉大爷披着蓑衣，坐在罩子灯旁，听着河水的低沉呜咽——非常低沉的呜咽。河道两边无穷的高粱地不时响起寻偶狐狸的兴奋呜叫。螃蟹趋光，正向灯影聚拢。父亲和罗汉大爷静坐着，恭听着天下的窃窃秘语，河底下淤泥的腥味，一股股泛上来。成群结队的螃蟹团团围上来，形成一个躁动不安的圆圈。父亲心里惶惶，跃跃欲起，被罗汉大爷按住了肩头。“别急!”大爷说，“心急喝不得热粘粥。”父亲强压住激动，不动。螃蟹爬到灯光里就停下来，首尾相衔，把地皮都盖住了。一片青色的蟹壳闪亮，一对对圆杆状的眼睛从凹陷的眼窝里打出来。隐在倾斜的脸面下的嘴里，吐出一串一串的五彩泡沫。螃蟹吐着彩沫向人类挑战，父亲身上披着大蓑衣长毛爹起。罗汉大爷说：“抓!”父亲应声弹起，与罗汉大爷抢过去，每人抓住一面早就铺在地上的密眼罗网的两角，把一块螃蟹抬起来，露出了螃蟹下的河滩涂地。父亲和罗汉大爷把网角系起扔在一边，又用同样的迅速和熟练抬起网片。每一网都是那么沉重，不知网住了几百几千只螃蟹。①∥父亲跟着队伍进了高粱地后，由于心随螃蟹横行斜走，脚与腿不择空隙，撞得高粱棵子东倒西歪。他的手始终紧扯着余司令的衣角，一半是自己行走，一半是余司令牵拉着前进，他竞觉得有些瞌睡上来，脖子僵硬，眼珠子生涩呆板。父亲想，只要跟着罗汉大爷去墨水河，就没有空手回来的道理。②∥父亲吃螃蟹吃腻了，奶奶也吃腻了。食之无味，弃之可惜，罗汉大爷就用快刀把螃蟹斩成碎块，放到豆腐磨里研碎，加盐，装缸，制成蟹酱，成年累月地吃，吃不完就臭，臭了就喂罂粟。我听说奶奶会吸大烟但不上瘾，所以始终面如桃花，神清气爽。用螃蟹喂过的罂粟花朵肥硕壮大，粉、红、白三色交杂，香气扑鼻。故乡的黑土本来就是出奇的肥沃，所以物产丰饶，人种优良，民心高拔健迈，本是我故乡心态。墨水河 盛产的白鳝鱼肥得像肉棍一样，从头至尾一根刺。它们呆头呆脑，见钩就吞。③／／父亲想着的罗汉大爷去年就死了，死在胶平公路上。他的尸体被割得零零碎碎，扔得东一块西一块，躯干上的皮被剥了，肉跳，肉蹦，像只褪皮后的大青蛙。父亲一想起罗汉大爷的尸体，脊梁沟就发凉。父亲又想起大约七八年前的一个晚上，我奶奶喝醉了酒，在我家烧酒作坊的院子里，有一个高粱叶子垛，奶奶倚在草垛上，搂住罗汉大爷的肩，呢呢喃喃地说：“大叔⋯⋯你别走，不看僧面看佛面，不看鱼面看水面，不看我的面子也看豆官的面子上，留下吧，你要我⋯⋯我也给你⋯⋯你就像我的爹一样⋯⋯”父亲记得罗汉大爷把奶奶推到一边，晃晃荡荡走进骡棚，给骡子拌料去了。我家养着两头大黑骡子，开着烧高粱酒的作坊，是村子里的首富。罗汉大爷没走，一直在我家担任业务领导，直到我家那两头大黑骡子被日本人拉到胶平公路修筑工地上去使役为止。④∥这时，从被父亲他们甩在身后的村子里，传来悠长的毛驴叫声。父亲精神一震，眼睛睁开，然而看到的，依然是半凝固半透明的雾气。高粱挺拔的秆子，排成密集的棚栏，模模糊糊地隐藏在气体的背后，穿过一排又一排，排排无尽头。走进高粱地多久了，父亲已经忘记，他的神思长久地滞留在远处那条喧响着的丰饶河流里，长久地滞留在往事的回忆里，竟不知这样匆匆忙忙拥拥挤挤地在如梦如海的高粱地里躜进是为了什么。父亲迷失了方位。他在前年有～次迷途高粱地的经验，但最后还是走出来了，是河声给他指引了方向。现在，父亲又谛听着河的启示，很快明白，队伍是向正东偏南开进，对着河的方向开进。方向辨清，父亲也就明白，这是去打伏击，打日本人，要杀人，像杀狗一样。他知道队伍一直往东南走，很快就要走到那条南北贯通，把偌大个低洼平原分成两半，把胶县平度县两座县城连在一起的胶平公路。这条公路，是日本人和他们的走狗用皮鞭和刺刀催逼着老百姓修成的。”HereImarkoutwherethetranslatorusesthetranslationstrategyormethodofsub—segmentationwithinthechapter．Andthisisatypicalexampleinwhichthetranslator,ProfessorHowardGoldbla：tt，usethemethodofsub—segmentationforfourtimeswithinthechapter．Inthesourcetext,theauthoratonetimewritesabout‘‘Father'’catchingcrabswithUncleArhat，andthenfollowsaparagraphinwhich‘‘Asfather24 followedthetroopsintothesorghumfield,hemovedsideways，crablike⋯hewaspulledalong，hisfeetbarelytouchingtheground．’’ThensomethingaboutFatherandgrandmasickofeatingthecrabsandgrandmaasanopiumsmoker．AndthenabouthowUncleArhatdiedandhowgrandmatriestopersuadeUncleArhatoutofleavingtheplaceandintohelpingherwiththeworkatthedistillery．AndagainbacktothepresenttimewhenfatherandgranddadweremovinginthesorghumfieldfortheambushagainsttheJapanese．Heretimeandspacemingled．Iftranslatedliterally,theAmericanreaderswouldprobablybeatalossaswhatthenovelistalkingabout．TheEnglishwayandtheChinesewayofnarratingthingsarequitedifferent，asProfessorHowardGoldblattpointsout‘'Actually,notknowingChinesewellenoughisn'tab／gproblem---youCanalwaysasksomeone．YouCanaskyourauthor,youCanaskyourfriends．No，thethingthat’SreallykillingtranslationinOurfieldisliteralism．Toomanytranslatorsareafraidofthetext,especiallywhenthey'refirststartingout．AndIunderstandthat,becauseIWastoo．They'reallafraidofthetexLYouneedtoovercomeyourfearofthetext，putsomedistancebetweenyouandit．YouhavetobecauseChineseandEnglisharesodifferent．”ThesewordsshowthatHowardisagainstliteralism，namelythedispositiontotakewordsandstatementsintheirliteralsense．Inthiscase，ProfessorHowardGoldblattiskeenlyawareofthedifferencesbetweenChinesemadEnglishandmoreimportantlytheneedsandexpectationsofthetargetreaders．Withtheaimofcateringtothereadinghabitsofthetargetreadersandatthesametimeretainingtheoriginalflavorandcharacteristicsofthesourcetext,thetranslatormakesUSeofthemethodofsub—segmentationalmosteverytimewhenthereisatimeandspaceshiftbetweentheevents，thusmakingthetimeandspacerelationshipsbetweentheeventsquiteclear．However,inthesourcetextstherearetwoplaceswherethereareobviousshiftintimeandspace，thetranslatordidnotadoptthemethodofsub—segmentation．Herewewi；1ltakeacloselookatit．Example2：Intheabovesourcetext，thereisatimeandspaceshift：fromtheambushsitetothenightbeforetheambushwhen‘‘mygrandpa'’andDetachmentLeaderLeng negotiatedovertheambushagainsttheJapaneseconvoy．Thoughthereisanotabletimeandspaceshift，thetranslatordidnotadoptthemethodofsub-segmentationsincethistimeandspaceshiftisquitenaturalandthereisaclearindicationbetweenthesetwoevents，thatis，“父亲把枪抓了过来。父亲握着枪，想起前天晚上，余司令就用这支枪打碎了一个酒盅子”(Fathertookthepistolfromhim，andasheheldithethoughtbacktoacoupleofnightsearlier,whenCommanderYuhadusedittoshatterawinecup．)．Andwhenthetimeandspaceshiftsbacktotheambushsite,thetranslatorusesthestrategyofsub—segmentationagain．Fromthesewecanseethatthetranslatorhasveryclearprincipleswhenitcomestotimeandspaceshift，thatis，tobefriendlyandconsideratetowardstargetreadersandatthetimetryhisbesttoretaintheoriginalflavoranduniquecharacteristicsofthesourcetext．3．1．2．2ParagraphingandreconstructionofeventsTothisend，thetranslatoralsoemploysotherstrategiesormethodssuchasparagraphingandreconstructionofevents．Example3：①这一夜，父亲躺在他的小床上，听着奶奶在院子里走来走去。奶奶格登格登的脚步声和田野里的高粱绊绦，编织着父亲纷乱的梦境。父亲在梦中听到我家那两头秀丽的大黑骡子在呜叫。②平明时分，父亲醒了一次。他赤着身体跑到院子里去撒尿，见奶奶还立在院子里望着天空发呆。父亲叫了一声娘，奶奶没答腔。父亲撤完尿，扯着奶奶的手往屋里拉。奶奶软疲疲地随着父亲转身进屋。刚刚进屋，就听到从东南方向传来一阵浪潮般的喧闹，紧接着响了一枪，枪声非常尖锐，像一柄利刃，把挺括的绸缎豁破了。③父亲现在趴的地方，那时候堆满了洁白的石条和石块，一堆堆粗粒黄沙堆在堤上，像一排排大坟。去年初夏的高粱在堤外忧悒沉重地发着呆。被碌碡压倒高粱闪出来的公路轮廓，一直向北延伸。那时大石桥尚未修建，小木桥被千万只脚、被千万次骡马蹄铁踩得疲惫不堪、敲得伤痕累累。压断揉烂的高粱流出的青苗味道，被夜雾浸淫，在清晨更加浓烈。遍野的高粱都在痛哭。④父亲和奶奶听到那26 声枪响不久，就和村里的若干老弱妇孺被日本兵驱赶到这里。那时候日头刚刚升上高粱梢头，父亲和奶奶与一群百姓站在河南岸路西边，脚下踩着高粱残骸。⑤父亲们看着那个牛棚马厩般的巨大栅栏，一大群衣衫褴褛的民夫缩在栅栏外。⋯⋯Targettext：①ThatnighthelayonhisKanglisteningtoGrandmapacetheyard．ThepatterofherfootstepsandtherustlingsorghuminthefieldsformedFather’Sconfuseddreams，inwhichheheardthebraysofouttwohandsomeblackmules．②Fatherawokeonce，aydawn，andrunnakedintotheyardtopee，therehesawGrandmastaringintothesky．Hecalledout,“Mom，’’buthisshoutfellondeafears．Whenhe’dfinishedpeeing，hetookherbythehandandledherinside．Shefollowedmeekly．They’dbarelysteppedinsidewhentheyheardwavesofcommotionfromthesoutheast,followedbythecrackofriflefire，likethepopofatautlystretchedpieceofsilkpiercedbyasharpknife．④ShortlyafterheandGrandmaheardtllegunfire，theywereherdedovertothedike,alongwi吐lanumberofvillagers—elderly,young．sickanddisabledbyJapanesesoldiers．③Thepolishedwhiteflagstonesboulders，andcoarseyellowgravelonthedikelookedlikealineofgravemounds．Lastyear’Searlysummersorghumstoodspellboundbeyondthedike，somberandmelancholy．Theoutlineofthehighwayshiningthroughthetrampledsorghumstretchedduenorth．Thestonebridgehadn’tbeenerectedthen，andthelittlewoodenspanstoodutterlyexhaustedandhorriblyscarredbythepassageoftensofthousandsoftrampingfeetandtheironshoesofhorsesandmules．Thesmellofgreenshootsreleasedbythecrushedandbrokensorghum，steepedinthenightmist,rosepungentinthemorningair．Sorghumeverywherewascryingbitterly．⑤Father,Grandma,andtheothervillagers～assembledonthewesternedgeofthehighway,southoftheriver,atoptheshatteredremnantofsorghumplants--facedamammothenclosurethatlookedlikeallanimalpen．Acrowedofshabbylaborershuddledbeyondit．27 Forcleareranalysis，Idividethesourcetextintofivesections①②③④⑤accordingtotimeandspacerelationship．Section①，namelythefirstparagraph,describesthatFatherhearsGrandmapacingrestlesslybackandforthinthecourtyard．Section②describesthatFatherawoketopeeoutsideandsawGrandmastaringintohesky,absenceofmind．Thethirdparagraphofthesourcetextincludesthreesections，thatis，section③④⑤．Section③describestheambushagainstJapaneseconvoy,whichisoneyearbehindthekillingofUncleArhat．Section④iscloselyaftersection②intimeandspaceaswellasinlogic．ItdepictsthatwhenGrandmaWasworriedaboutUncleArhatandshortlyaftertlleyheardthegunfire，FatherandGrandmawereherdedovertothedike，alongwithanumberofvillagersbytheJapanesesoldiers．Inthetargettext，thesequenceofsection①and②remainsthesamesincethetwoeventsdescribeddevelopchronologically．Thethirdparagraphofthesourcetextisdividedintotwoparagraphs．Whenweexamineitmoreclosely,wefmdthatsection④cameaftersection②andthatwhentranslatingsection③，thetranslatoromitted“父亲现在趴的地方，那时候”anddirectlytranslatedthesectionofgeographicalenvironmentaldescription,whichwasoriginallywrittenfromtheperspectiveofthenarrator,asifitwasobjectiveenvironmentaldescriptionfromanimpersonalnarrator．Thus，itnaturallyclearsupthetimeandspaceshiftsinthesourcetext．Comparedtothesourcetext,thetargettextpresentsamorelogicstorytothereadersandthisisquiteimportantinEnglishasEnglishisamostlogiclanguagethatpaysalotofattentiontologic．3．2TranslatingthethemeofHongGaoLiangJiaZu3．2．1Theanti-historythemeofHongGaoLiangJiaZuIntheschoolofrootseekingliterature，novelistsdigtherootsofChineseliteratureintheregionalculturethattheyarefamiliarwith．TheysettheirsightsagaintotheChinesehistoryandasaresulthistoricalnovelsbecameabuzzwordandattheendofthe1980s，theChineseneo-historicalnovelscameintobeing．Chineseneo-historicalnovelsfocusagainonhistory．However,differentfromprevioushistoricalnovels，Chineseneo—historicalnovelsnolongerplaythepartoftheloudspeakerofhistoricallegendsbutshowsnovelists’wishtodeconstructhistory，satirizehistoryandtoreflect28 uponhistory．HongGaoLiangJiaZuisaperfectexampleofChineseneo-historicalnovel，thushavingallthefeaturesofChineseneo-historicalnovels，especiallyitsanti-historytheme．HongGaoLiangJiaZu,withitsnearlynaturaliststyle，restoresthecruel，blood．thirstyandinhumannatureofWar．ThesceneinwhichtheJapaneseforcedSunFivetoskinUncleArhataliveisquiteappallinganddisturbing．Duringthe1980s，westernphilosophicalideaprevailedinChinaandthereisawaveofreflectingsocietyandhistory．Modernwriterscontinuouslypresenttoreadersrevolutionaryhistorydifferentfromtheofficialstatementandauthoritativehistoryinnature．Inneo—historicalnovels，thecharactersareneitherallgoodnorallbad，whichisquitecommoninoldhistoricalnovelsbeforethe1980s．Ironyisanartisticmethodsfrequentlyemployedinneo-historicalnovels．ForexampleinHongGaoLiangJiaZu,“IreturnedtoNortheastGaomitownshiptocompileafamilychronicle“，however,thefirstssentenceofthisbookis“我父亲这个土匪种”．Ontheonehand,thenarratorthinksmygrandmashouldbeanationalheroagainsttheinvasio．noftheJapanese．Ontheotherhand,hewrotedownwhatanoldwomanofninety-twosang：“⋯Arhat．yourfamily’Sforeman⋯somethingfishybetweenhimandyourgrandma,SOeveryonesaid．．．Aiyaya,whenyourgrandmawasyoungshesowedplentyofwildoats⋯．yourdadWasacapableboy,killedhisfirstmanatfifteen，eightornineoutofeverytenbastardkidsturnoutbad⋯’’And"NortheastGaomiTownshipiseasilythemostbeautifulandmostrepulsive，mostunusualandmostcommon，mostsacredandmostcorrupt,mostheroicandmostbastardly,hardest··drinkingandhardest··lovingplaceintheworld．’’Tonamejustafew．3．2．2TranslationstrategiesandmethodsusedinthetranslatingofthethemeofRedSorghumbasedontheSkopostheory3．2．2．1AdaptationChineseneo-historicalnovelsaretheresultofacertainperiodoftimeduringtheChinesehistory．SoitisquitedifficultfortranslatorstotranslatethemandmaybemoredifficultfortheEnglishreaderstocomprehendandunderstand．Sothetranslatorssometimesmayemploythemethodofaddition，omission，notationandevenadaptation． Herewewilllookatanexample．Example4：县志载：民国二十七年，日军捉高密平度胶县民夫累计四十万人次，修筑胶平公路。毁稼禾无数。公路两侧村庄中骡马被劫掠一空。农民刘罗汉，乘夜潜入，用铁锹铲伤骡蹄马腿无数，被捉获。翌日，日军在拴马桩上将刘罗汉剥皮零割示众。刘面无惧色，骂不绝口，至死方休。However．fromthewholenovelwecantellthatArhatiSnotaherothatfacesdeathunflinchinglyasdescribedintheabovepassageinthecountychronicle．Heisactuallyanordinaryfarmerthatisloyaltohismaster,livesaquitelifeandhasnotmuchexpectationaboutlife．Incon仃ary,heisdescribednearlyallthetimeasacowardly,narrow-mindedandstupidfarmer．Firstofall，hecriedseveraltimesinthenovel．WhenthegrinningoverseerflickedhiswhipintheairandwrappeditaroundUncleArhat’Swaist，“Twostreamsofhot,stingingtearsoozedoutofthecornersofUncleArhat’Seyes⋯”；“UncleArhatchokedoffhissobsashiseyespooledwithtears．’’“Stunned,hebegantoblubberlikeababy⋯”．ThereisanancientChinesesaying．“Menonlyweepwhendeeplyhurt．’’Itisasymbolofinabilityformentocry．Forfourtimes，theauthordescribestheflameinhisheart，‘一股紫红色的火苗，也在他空白的脑子里缓缓地亮起来’；‘那股紫红色的火苗时强时弱地在他的脑子里燃着，一直没有熄灭’；‘只有那簇紫红的火苗子灼热地跳跃着，冲击着他的双耳里嗡嗡地响’；‘罗汉大爷脑子里的火苗腾一声燃旺了，火苗把他丢去的记忆照耀得清清楚楚’。Heretheflameisametaphor,indicatingtheindignationofUncleArhat．TheauthorpurposelyintertwinethecryingofUncleArhatwiththeflameinhisheart，thelatterunderlininghispassivenessandcowardlynature．Thoughangry,hejustkeepsmovingtherocksobedientlylikeaslaveuntilthemiddle—agedmancametohisrescueandhelpedhim．Secondly，theideaofescapehasoccurredtoUncleArhatatdaytimewhenheWasforcedtowork．Butwhenhesawthedeathofayoungmantryingtogetaway,hedaresnottoactanymore．Althoughhestillwantstoescape，he‘‘laytherenotdaringtomove'’，andheawokecoveredinsweat；hispantsweresoaked惭t11piss．Notuntilthemiddleagedmanopenedthefenceandfledsuccessfullydidherealizethatthechanceofescapehadcome．Heshouldhavebeenfreetoreturntohisvillagetolethiswoundsmendandgoonlivingbutheturnedbackforthetwo blackmules，whichwouldleadtoagrandtragedy．Hecametotheplacewherethehorsesandmuleshadbeentied,butthemules，strangerstotheworldofreason，greetedhimwithflyinghooves．UncleArhatisnotawarethatthesmellofdriedbloodandnewwoundshadchangedhisidentitytothem．Infaceofthedamnedbeasts，hegrewveryangryandstumbledaroundthearealookingforaweapon,raisedhishoe，tookaimonthehindlegofoneofthemandswungwithallhismigh_t，nothinglikewhathadbeenrecordedonthecountyrecords“农民刘罗汉，乘夜潜入，用铁锹铲伤骡蹄马腿无数”．ThisactofUncleArhathadnotmuchtodowithanti-Japaneseinvasionbut、砘Ⅱlthenarrow—mindednessandshortsightofUncleArhat．Hisactiscruelandinhumanasthemulesarebadlyinjured．Theauthorpurposefullymakewhathadbeensaidonthecountyrecordsandwhatisnarratedlaterinthenovelcontradict、Ⅳimeachother,totallyoverthrowingtheheroicimageofbeinganationalheroagainsttheJapaneseinvasionashadbeenrecordedonthecountyrecords．Thus，theanti-historythemeisachievedandthepurposeofsatirizingsomephenomenainourdailylifeisachieved．ThetranslatorHowardGoldblattmadesomeadaptationstothecountyrecords，thetargettextisasfollows：IncountyrecordsIdiscoveredthatin1938，thetwenty-seventhyearoftheRepublic，fourhundredthousandman-dayswerespentbylocalworkersfromGaomi，Pingdu,andJiaocountiesintheserviceoftheJapanesearmytobuildtheJiao-Pinghighway．TheagriculturallossWasincalculable，andthevillagesborderingthehighwaywerestrippedcleanofdraftanimals．ItWasthenthatArhatL沁aconscripthimself,tookahoetothelegsofoutcapturedmule．HeWascaught,andthenextdaytheJapanesesoldierstiedhimtoatetheringpo瓯skinnedhimalive，andmulilatedhiminfrontofhiscompatriots．ThereWasnofearinhiseyes，andastreamofabusepouredfromhismouthupuntilthemomenthedied．(14)Fromtheabovepassage，firstofall，wecanseethatthetranslatorchanged“铲伤骡蹄马腿无数"into“拿铲子铲伤我家骡子的腿”(tookahoetothelegsofourcapturedmule)，makingitcorrespondtothenarrativeinthenovel．Secondly,accordingtothecountyrecords，ArhatLiuWasobviouslyasmartandagilenationalhero．Irrespectiveofhisownsafety，he“铲伤骡蹄马腿无数”，wouldratherhurtthe3l horsesandmulesthatletthemworkfortheJapanesearmy．Hishurtingthehorseandmuleswasal【indofproactiveandstrategicactagainsttheJapaneseinvasion,whichisquitedifferentfromwhatisnarratedlaterinthenovel．Thetranslatorobviouslyhasnotedthecontradictionandasaresultmadesomeadaptationstotheoriginaltext，thuseliminatingthecontradiction．11letranslatoradded“aconscripthimself'’behindthenameofArhatL沁thusindicatingthatheWasoneofthemanylocalworkersintheserviceoftheJapaneseandbetterlinkingwithwhatisnarratedinthelatterpartofthenovel．Duringtheprocessofadaptation，theeffectofironyistotallylost．However，tosomeextent，thereisnothingtobesaidagainsttheadaptationbythetranslatorsincethetargettextisfortheforeigntargetreaderswhoknownoChineseandevenifthetranslatorkepttheirony,itwouldbedifficultfortheforeignreaderstounderstandandtlleymayevencriticizetheinconsistencyinthenovel．Sincethetargettextsareforthetargetreaders，wehavetotakeintoconsiderationthereceptiveabilityofthetargetreaders．Theadaptationinthiscasehelpsmakethenarrationlogicandcoherent．InanalyzingthetranslationsofHowardGoldblatt，thethreescholarsWenJun⋯，WangXiaochuanandLaiTianAI-t16arguethatbeyondtheobviousfactthatliterarytranslationmustbeasfaithfulaspossible，greattranslation，andconverselythetranslationofgreatworks，requiressomeamountof”betrayal”aswell．Onthesurface，thismayseemlikeacriticismofthetranslator,butcarefulthoughtonthesubjectrevealsitswisdom．Intranslatingtrulyoutstandingworks，thetranslatorismetwithadualchallenge：thedifficultyofrenderingauniquevoiceintoanotherlanguage，andthedifficultyofmovingfromoneculturalframeworkandlinguisticstructureintoanother．Ultimately,thetwinissuesoftheauthor'sindividualvoiceandthepeculiaritiesofherorhisculturalandlinguisticmilieucannotbetranslatedinanyfacilemanner．AtsomepoiIlt，thetranslatormusttakelibertieswiththeoriginalSOastorecastitintoavoiceofhisownandintotheculturalframeworkthatundergirdsEnglish．By”betraying”theoriginaltext(beingdisloyaltoit)，however,anidealtranslatoralso”betrays”itfinthesenseof”revealing”it)totheEnglish-languagereadershipinahi曲lyimaginativeformthatdoesjusticetotheindividualityandculturaluniquenessoftheoriginaltext．AsProfessorHowardGoldblattoncesaidsomethingtotheeffectthat32 theChinesewriterswriteforChinesereadersandheasatranslatortranslatesforforeignreaders，SOtranslatingisactuallyaprocessofrewriting．3．3TranslatingspecificwordsandsentencesofHongGaoLiangJiaZu3．3．1TranslatingdialectsinHongGaoLiangJiaZuTheuseofdialectsinliteratureworkshelpsaddtolocalandregionalflavorofworkandexpressindividualstyleofanauthor．Especiallyforrootseekingliterature，theuseoflocaldial眺hasbecomeanecessitysincerootseekingliteratureaimstoreflectlocalculturalflavor．However,forliterarytranslation,dialects，whicharefulloflocalculturalflavor,arequitedifficultfortranslatorstotranslate．ProfessorHowardGoldblattoncesaidsomethingtoeffectthatsometimeshedaresnottakesomemodemChinesenovelsfortranslationandoneofreasonsisthattherearetoomanydialectsinnovelsandhefearthatculturalconnotationmightbelostiftranslatortranslatethemwithordinaryEnglish．Andhead(1sthatChinesewritersboasttheirowncharacteristics；theirnovelsofv撕ousstylesareoftenfulloflocaldialectsandiftranslatorcouldfaithfullyrendertext,itwillbeahugeSUCCesS．Andhehasbeenmoststrictwithhimselfsinceiftranslationdivertsfromsourcetext,thecharacteristicsandtemperamentofauthorandChineseculturewouldbelostduringtranslation．InHongGaoLiangJiaZu,youCanseeuseofdialectsalmosteverywhere．Here1willanalyzeindetailtranslationmethodorstrategyusedwhentranslatingdialectsinHongGaoLiangJiaZu．3．3．1．1ThecoinageofnewwordsinEnglishExample5：哑巴是余司令的老朋友，一同在高粱地里吃过“饼”的草莽英雄，他的一只脚因在母腹中受过伤，走起来一颠一颠，但非常快。父亲有些怕他。MuteWasoneofCommanderYu’Soldbanditfriends，agreenwoodherowhohadeatenfistcakesinsorghumfields．OnofhislegsWasshorterthanother-aprenatalinjury-andhelimpedwhenhewalked，butthatdidn’tslowhimdown．FatherWasalittleafraidofhim．33 InlocalShandongdialect,thosewho“吃饼”referstothosebandits．Herethetranslatorcombines“fist'’with“cake'’andcreatestheword“fistcake'’．Inthenovel，theauthoralsomentions“草莽英雄”，andthetranslatorrendersitinto“agreenwoodhero'’．Thetargetreaderscouldguessandunderstandtheconnectionbetween“吃饼”and“草莽英雄"accordingtothecontext．Thus，notonlythemeaningofthesourcetextistransferredappropriately,butalsothewordssuch嬲“吃饼”and“草莽英雄”，whicharefulloflocalcolor,areexpressed．3．3．1．2EnglishcommonsayingversusdialectsEverylanguageiscondensedhistoryandculture．Commonsayingsarethoseoralandpopularlanguageunitscreatedbythegeneralpublic．Inliteratureworksespeciallynovels，commonsayingsareusedalottoaddtotheexpressivenessoflanguageandtomaketheimageofcharactersandthestorymorevividandlively．Fornoveltranslation，ProfessorHowardGoldblattthinksthatthelanguageoftranslatorsshouldbeconsuetudinaryandmodematthesametimeandheattachesgreatimportancetothelinguisticexpressioninnovels．TranslatingdialectsinthesourcelanguagewithEnglishcommonsayingsisoneofhismethodsorstrategiestokeepthelanguageofthenovelconsuetudinary．Example6：说到胶平公路时，她的话连贯起来：“路修到咱这地盘时哪⋯⋯高粱齐腰深了⋯⋯鬼子把能干活的人都赶去了⋯⋯打毛子工，都偷懒磨滑⋯⋯你们家里那两头大黑骡子也给拉去了⋯⋯鬼子在墨水河上架石桥⋯⋯ThethreadofhernarrativeevenedoutasshetalkedoftheJiaoPinghighway：．‘WhenthehighwayWasextendedthisfar⋯sorghumonlywaisthi曲⋯Japsconscriptedallable-bodiedworkers⋯．workingfortheJaps，slackedoff,sabotage⋯tookyourfamily’Stwobigblackmules⋯builtastonebridgeovertheBlackWaterRiver．．．．Here“偷懒磨滑”isaShandongdialectmeaningtoloafonthejob．Herethetranslatorselectsthetwowords“slackoff'’and“sabotage”torenderthisdialect．“Slackoff’isEnglishcommonsayingwithsimilarmeaning．Inthetargettext，theuse oftwoindependentwords“slackoff’and“sabotage'’，ratherthancompletesentences，notonlyhelpstoreflecttheoralfeaturesthelanguage，thatis，wordyandincoherent,butalsohelpstobuildtheimagethecharactersinthenovel．3．3．1．3StandardEnglishversusdialectsBesidestheabovementionedtwomethodsorstrategies，somethedialectsinHongGaoLiangJiaZuhavetobetranslatedwi廿lstandardEnglish．Itisundoubtedlyagreatpitythatdialectsinthesourcetextshouldberendered讯thStandardEnglish．However,tosomeextent,thereisnootheralternative．Aftercarefulanalysis，wefindthatProfessorHowardGoldblattspendsaloteffortandenergyondealingthedialectsevenwithStandardEnglish．Example7Sourcetext：看你劈腿拉胯，好像骡马撤尿。(P50)Targettext：Yourlegsarespreadlikeamuletakingapiss．Here“劈腿拉胯”inlocaldialectsmeans“歪歪斜斜地站着”ortostandinacrookedmanner,justasdescribedlaterintlIeoriginalnovd“好像骡马撒尿",whichisquitevividdescriptionandwec觚easilyimaginethepictureinOurmind．Thisiswhylocaldialectsaresohotinmodemliterature．Thisiswheretheglamourdialectsliesinceitcontainsrichwisdomandemotion．Somelocaldialectsthemselvesarevividimages，asinthiscase．ThetranslatorusesStandardEnglishtorestoretheimageintheoriginaltextandhasdoneitverywell．．Inthetargettext,thetranslatoruse‘‘spreadone’Slegs”andtheprepositionalphrase‘‘likeamuletakingapiss”toaccuratelyrecreatesthislinguisticimage．3．3．2TranslatingotherspecificwordsandsentencesinHongGaoLiangJiaZu3．3．2．10missionExample8Sourcetext：有人说这个放羊的男孩就是我，我不知道是不是我。我曾经对高密东北乡极端热爱，曾经对高密东北乡极端仇恨，长大后努力学习马克思主义，我终于悟到：高密东北乡无疑是地球上最美丽最丑陋，最超脱最世俗，最圣洁最龌龊，最英雄好汉最王八蛋最能喝酒最能爱的地方。35 Targettext：Someonesaidthatthelittlegoatherdwasme．butIdon’tknow．IhadlearnedtoloveNortheastGaomiTownshipwithallmyhean．andtohateitwithunbridledfury．Ididn’trealizeuntilI'dgrownupthatNortheastGaomiTownshipiseasilythemostbeautifulandmostrepulsive，mostunusualandmostcommon，mostsacredandmostcorrupt，mostheroicandmostbastardly,hardest—drinkingandhardest—lovingplaceintheworld．Thisisagreatexampleinwhichthetranslatingstrategyomissionisemployed．“努力学习马克思主义”Wasomittedinthetargettext．Inwesterncountries，MarxismWasregardedasfiercefloodsandsavagebeasts·-·-greatscourgesandWasnotpopularbackinthe1990s，whentheEnglishversionofHongGaoLiangJiaZuWasfn'stpublished．AndeventodayMarxismisonlypracticedinafewsocialistcountrieslikeChinaandmanyothercountriesvigorouslycriticizeMarxism．Generally,westernreadersareuncomfortablewithworksthathavestrongpoliticalinclinations．ItwouldbeverydifficultandevenimpossibletomarketthesebooksinthewesternworldifProfessorHowardGoldblattshouldtranslatethissentenceaccordinglywi也outanychange．Tothisend,theMarxismpartWasomitted．ForProfessorHowardGoldblatt，hethinkstranslatorsassumegreatresponsibilitiesandthekeyistobeloyalandresponsibletotheauthorsandtothesourcetextaswellastothereadersandthepriorityistobeloyalandresponsibletowardsthereaders．Example9Sourcetext：大爷好半响才明白了眼前发生了什么事。中年人原来是个武艺高强的英雄。英雄为他开辟了道路，跑吧!大爷小心翼翼地从那个洞里爬出去。那个死鬼子仰面躺着，一条腿还在抽抽答答地颤动。text：IttookUncleArhatamomenttorealizewhathadhappened．Themiddleagedmanhadshownhimthewaytoescape!Cautiously,hecrawledoutthroughtheopening．ThedeadJaplayontheground；faceup，onelegstilltwitching．Here“中年人原来是个武艺高强的英雄”WasomittedinthetargettextpurposelybythetranslatorasthissentenceisnotSOimportantinthiscontextandiftranslatedliterallywouldmaketheEnglishlackslogicandcoherencesince‘‘Themiddleagedmanhadshownhimthewaytoescape!’’shouldbettercomeafterthesentence“IttookUncleArhatamomenttorealizewhathadhappened．’’Theomittedversionwouldbe morelogicandfluenttothetargetreaders．Sofromthesetwocaseswecanseethatanytranslationmethodandstrategywouldbeadoptedaslongasthetargettextcaterstothereadinghabitsofthetargetreaders．33．2．1AdditionExample10Sourcetext：大爷爬进了高粱地，直起腰来，顺着垄沟，尽量躲避着高粱，不发出响动，走上墨水河堤。三星正晌，黎明前的黑暗降临。Targettext：Aftercrawlingintothesorghumfield,UncleArhatstraightenedupandfollowedthefurrows，takingcarenottobumpthestalksandgetthemrustling．HefoundhiswaytothebankoftheBlackWaterRiver,wherethethreestars—Rigel，Betelgeuse,andBellatrix⋯hungdirectlyoverhead．Herethetranslatoremploysthestrategyofaddition,adding“Rigel，Betelgeuse，andBellatrix’’andadashafter‘'thethreestars'’．Englishisaverylogiclanguageanditwouldbeoddandlackssomethingifafterthe‘‘thethreestars'’thereweren’tanythingexplainingwhatthethreestarsare．Besides，thethreestarsinthemindofthesourcetextreadersmaybedifferentfromthestarsinthemjndofthetargettextreaders．Whenthetranslatoradds“Rigel，Betelgeuse，andBellatrix”，alltheaboveproblemswouldbesolved，achievingthepurposeofcateringtothereadinghabitsofthetargetreaders．Example1Sourcetext：长七十里宽六十里的低洼平原上，除了点缀着几十个村庄，纵横着两条河流，曲折着几十条乡间土路外，绿浪般招展着的全是高粱。Targettext：Exceptforahandfuloftinyvillages，twocrossingrivers，andafewdozenwindingdirtpaths，themarshyplain，whichmeasuredsixtybyseventy-oddli---orabouttwentybytwenty-fivemiles··-··-Wascoveredwithsorghumthatwavedlikeanoceanofgreen．Thisisanotherexampleinwhichthetranslatingstrategyadditionisadopted．LiisaChinesemeasuringunitandisverystrangetothewesternreaders．Iftranslatedaccordinglywithoutanychange，thereaderswouldbeatalossaswhatthisisallabout．Incontrast,thetranslatoradds‘‘orabouttwentybytwenty-fivemiles’’explainingtothereaderswhat“sixtybyseventy-oddli’isallabout．Inthiscase，thetranslatordidnottranslatetheChinese“长七十里宽六十里”directlyinto“twentybytwenty-fivemiles”butkepttheChinesestyleLiatthesametime．ThisagainfulfillsthepurposeofcateringtothereadinghabitsofthetargetlanguagereadersaswellasmaintainingtheChinese37 flavorofthesourcelanguageinthetargetlanguage．Example12Sourcetext：这条公路，是日本人和他们的走狗用皮鞭和刺刀催逼着老百姓修成的。Targettext：Japaneseandtheirrunningdog，Chinesecollaborators，hadbuiltthehighwaywiththeforcelaboroflocalconscripts．Herethetranslatoraddsanappositive‘‘Chinesecollaborators'’after‘‘theirrunningdog'’．“走狗”inChinesewastranslatedliterallyinto“runningdog”．whichmaybealittledifficultforthetargetreaderstounderstandsinceitisawordwithChinesecharacteristics．Itisawordthatexistsinspecifictimeandplaceofthehistory．ThisagainfulfillsthepurposeofcateringtothereadinghabitsofthetargetlanguagereadersaswellasmaintainingtheChineseofthesourcelanguageiIlthetargetlanguage．3．3．2．3ConversionExample13Sourcetext：秋风起，天气凉，一群群大雁往南飞，一会儿排成个“十”字，一会排成个“人”字，等等。Targettext’。：Autumnwindsbroughtcoolair,andwildgeeseflewthroughtheskyheadingsouth，theirformationchangingfromastraightlineoneminutetoaVthenext．Example14Sourcetext：奶奶那年身高一米六零，体重六十公斤，上穿碎花洋布褂予，下穿绿色缎裤，脚脖子上扎着深红色的绸带子。Targettext：ThatyearGrandmawasfivefeetfourinchestallandweighedabout130pounds．SheWaswearingacottonprintjacketovergreensatintrousers，谢Ⅱlscarletbandsofsilktiedaroundherankles．TheChineselanguageandcultureisverydifferentfromthatofthewestemcountries．Tosaytheleast，theChinesepeopleusuallyUSestheChinesecharacter“正”torecordnumberswhilethewesterners，especiallythosefromtheEnglish—speakingcountries，usesthreegeneralcrossingsplusaslashtorecordnumbers．TheChinesecharacters“十”and“人”areusedtodescribetheshapeoftheformationoftheflyingwildgeese．Tocatertothereadinghabitsofthewestemreaders，thetwoChinesecharacters“十”and“人”mustbeconvertedintosomethingthatthewesternreadersarefamiliarwithandatthesametimesimilartotheshapeofthetwoChinesecharacters“十”and“人”．Thusthe38 translation“changingfromastraightlineoneminutetoaVthenext'’．TheChinesemeasuringunitsareverydifferentfromthewesterncountries．Whenitcomestomeasuringtheheightandweightofsomebody,theChinesepeoplealwaysUSe“cm’’or‘‘m’’and‘‘kg’’or‘,jin,’whilethewesternpeopleusuallyUSe‘‘inch'’and‘'pound’’．Herethetranslatorconverts“身高一米六零，体重六十公斤”into“fivefeetfourinchestallandweighedabout130pounds'’togivethereadersaroughimpressionaboutthefigureofGrandma．Thistranslationcaterstothereadinghabitsofthewesternreaders．39 ChapterFourCONCLUSION5．1FindingsoftheThesisThisthesisanalyzestheChinesetoEnglishtranslationstrategiesofHongGaoLiangJiaZuundertheguidanceoftheskopostheory．RedSorghum，theEnglishversionofHongGaoLiangJiaZu，isasuccessfultranslationbyProfessorHowardGoldblatt，thechieftranslatorofcontemporaryandmodemChineseliterature．Accordingtotheskopostheory,differentpurposesoftranslation，orskopos，decidesdifferenttranslationstrategiesormethods．ForProfessorHowardGoldblatt，totrytomaintaintheoriginalflavoroftheworkandtransmitChinesecultureisonepurposeoftranslation．Andtocatertothereadinghabitsoftheta唱etreadersandmakethetargettextmoreacceptable，mark础letothewesternreadersisanother．Basedontheseskopos，thetranslatoradoptsvariousstrategiesormethodsduringtheprocessoftranslation．5．2LimitationsoftheThesisFirstofall，forconvenience’SsakeandgiventhatHongGaoLiang，thefirstchapterofHongGaoLiangJiaZu，isthemostsuccessfulandrepresentativeone，theauthortakesexamplesonlyfromthefirstchapterofHongGaoLiangJiaZu．Thescopeofthispaperdoesnotallowafullrepresentation．Thismaybeonelimitationofthestudy．Secondly，thisthesisfocusesmainlyonthestrategiesormethodsadoptedfortranslatingthestructure．thethemeandotherspecificsentencesandwordsofHongGaoLiangJiaZu．Manyotheraspectssuchasthestrategiesormethodsadoptedfortranslatingthemanycolorwords，modifiersthatareusedabnormallyinthetext，arenotcovered． 5．3SuggestionsforFutureStudiesAsthechieftranslatorofcontemporaryandmodemChineseliterature，ProfessorHowardGoldblattisalegendaryfigurethatneedsmoreattention．HehastranslatedadozenofcontemporaryandmodemChineseworks．Morestudiesneedstobeconductedconcerninghistranslationstrategies，style，etc．Heonceexpressedthatforreviewofhiswork,whatheseeksandlooksforwardtoisabroadercritique，onethatmeasuresitsdegreeofSuccessintermsofoverallfidelity,whichCanincludetone,register,clarity,appeal，graceofexpression，andSOon．Sothismaybeafocusforfutureresearchers．Maybemodemsamplingmeaslescouldbeadoptedduringthisprocessasthebestjudgearethetargetreaders，justasthebestjudgeofaproductisitsendusers．41 [16】Vermeer,H(1987)．”Whatdoesitmeantotranslate?”JournalofAppliedLinguistics．http：／／www．chinadaily．com．cn／cndy／2008-03／12／content_6527699．htmhttp：／／baike．baidu．com／view／1501267．htmhttp：／／edu．sina．com．cn／en／2012-10·12／142369815．shtmlhttp：／／www．infzm．com／content／trs／raw／415543 从目的论看葛浩文的红高粱英译作者：涂利慧学位授予单位：对外经济贸易大学引用本文格式：涂利慧从目的论看葛浩文的红高粱英译[学位论文]硕士2013