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摘要：As for the fiction of The Vermillion Gate at hand, thisAuthor just listed some of perhaps the most prominent cases of stylistic non-equivalence, due to the Author's limited knowledge and time.For further researches, other aspects of stylistic non-equivalence concerningfiction translation will still await consideration, such as the stylistic non-equivalencearising typically in fiction translation from Chinese to English. In the future, theAuthor expects more academic efforts to be devoted to the stylistic non-equivalencearea in fiction translation.

alence in Translation................................... 15

3.1.1 Definitions of Equivalence and Non-equivalence................. 15

3.1.2 Nida's Functional Equivalence................................... 16

3.1.3 Stylistic Equivalence and Functional Equivalence.......18

3.2 Classification of Stylistic Non-equivalence in Fiction Translation..... 19

3.3 Compensational Principles for Stylistic Non-equivalence in FictionTranslation.... 22

Chapter 5 Conclusion

Based on Leech's and Shen Dan's literary stylistic approaches, and EugeneNida's principle of functional equivalence, the thesis conducted a comprehensivestudy of stylistically non-equivalent problems in fiction translation, as illustrated withcomparative case analyses of the two Chinese translations of Lin Yutang's novel TheVermilion Gate. In this chapter, the Author's answers to the research questions will beprovided below.Research Questionl: what can be defined as stylistic non-equivalence and whatare the typical types of stylistic non-equivalence in fiction translation?This thesis regards failure to achieve functional equivalence as stylisticnon-equivalence. Given that style in fiction generally encompasses ① featurestypical of poetry, which are normally stylistically marked or overt, and ② featurestypical of fiction, which are normally stylistically “concealed” or covert, the thesisgenerally classifies four major types of stylistic non-equivalence under two broadvarieties. They are:(1) the overt stylistic non-equivalence in Action translation, which consists of? the overt stylistic non-equivalence in linguistic form;? the overt stylistic non-equivalence in connotative meaning and function.(2) the covert stylistic non-equivalence in fiction translation, which consists of? “deceptive equivalence”： the covert stylistic non-equivalence in linguistic form orfictional “facts”；? the covert stylistic non-equivalence in light of the author's target language style.Research Question 2: what are the causes of various stylistically non-equivalentfeatures and what factors should be weighed and balanced, when the translator seeksto address stylistically non-equivalent problems in fiction translation?The research findings show that the unique construction of each language, thedivergent cultural, social, and religious factors associated with different languages, thetranslator's inclination towards coherence and logicality，and the translator'signorance of the thematic functions of the stylistic devices and the author's targetlanguage style all have a bearing on the stylistic non-equivalence in fictiontranslation.To avoid stylistic non-equivalence, the translator should be sensitive to (1) theST’s theme and the authorial vision, (2) the bilingual author's habitual styles in boththe SL and the TL，(3) the disparity between the ST reader's expectation and that ofthe TT reader, and (4) the distinctive linguistic constructions, the stylistic norms, theliterary conventions, and the cultures in the the SL and the TL systems. Only throughconstant weighing and balancing these integrated elements，can one achievefunctionally equivalent translation in rendering fiction.Research Question 3: what specific strategies can be summarized from thecomparative study of the translations of The Vermillion Gate so as to compensate fordifferent types of stylistic non-equivalence in fiction translation?The th本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。