Theor App Lit EN 4 - Revision history

Zhou Qing: /* References */

2021-12-15T13:57:41Z

References

Zhou Qing: /* References */

2021-12-15T13:54:09Z

References

Li Wen: /* Chapter Five On the Creative Treason in English Versions of Bian Cheng */

2021-12-15T07:36:32Z

Chapter Five On the Creative Treason in English Versions of Bian Cheng

Li Wen: /* Chapter Four Brief Introduction of Bian Cheng */

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Chapter Four Brief Introduction of Bian Cheng

Li Wen: /* Chapter Three Brief Introduction of Creative Treason */

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Chapter Three Brief Introduction of Creative Treason

Li Wen: /* Chapter Two Literature Review */

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Chapter Two Literature Review

Li Wen: /* 1.2 Research Significance */

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1.2 Research Significance

Li Wen: /* 1.1 Research Background */

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1.1 Research Background

Li Wen: /* Chapter One Introduction */

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Chapter One Introduction

Li Wen: /* Chapter One Introduction */

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Chapter One Introduction

← Older revision		Revision as of 13:57, 15 December 2021
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	[13]埃斯卡皮.文学社会学[M].合肥:安徽文艺出版社,1987.		[13]埃斯卡皮.文学社会学[M].合肥:安徽文艺出版社,1987.
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		+	[13]埃斯卡皮.(1987）''文学社会学''[M].合肥:安徽文艺出版社.--[[User:Zhou Qing\|Zhou Qing]] ([[User talk:Zhou Qing\|talk]]) 13:57, 15 December 2021 (UTC)

	[14]陈丽莉.翻译的异化和归化[J].中国科技翻译,1999(2).		[14]陈丽莉.翻译的异化和归化[J].中国科技翻译,1999(2).

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 =References=
 [1]Amold, M. On Translating Homer. New York: AMS Press Inc, 1971.
 [2]Barnstone, W. The Poetics of Translation--Hisory, Theory, Practice. New haven and London: Yale University Press,1993.

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   The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.
-.1 Personalized Translation
+==Personalized Translation==
 In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
-.1.1 Domestication
+===Domestication===
 In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).
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 We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.
-.1.2 Foreignization
+===Foreignization===
 Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.
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 From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.
-.1.3 Free Translation
+===Free Translation===
 Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.
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 In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence"  striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.
-.2 Intentional Mistranslation and Omission
+==Intentional Mistranslation and Omission==
 Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.
-.2.1 Mistranslation
+===Mistranslation===
 Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.
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 Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.
-.2.2 Omission
+===Omission===
 Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

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 Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
-.1 Bian Cheng and its Author Shen Congwen
+==Bian Cheng and its Author Shen Congwen ==
 Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.
 Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.
-.2 English Versions of Bian Cheng
+==English Versions of Bian Cheng==
 Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

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 Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
-.1 Definition of Creative Treason=
+==Definition of Creative Treason==
   Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.
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 In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.
-.2 Significance of Creative Treason
+==Significance of Creative Treason==
 Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also  brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

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 Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
-.1 Studies of Creative Treason Theory at Home and Abroad
+==Studies of Creative Treason Theory at Home and Abroad==
 Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.
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 But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.
-.2 Studies of Bian Cheng at Home and Abroad
+==Studies of Bian Cheng at Home and Abroad==
 Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

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 The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.
-==1.2 Research Significance==
+==Research Significance==
 Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

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 Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
-==1.1 Research Background==
+==Research Background==
 For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.