environment, the translator improves the version's degree of holistic adaptation and
selection by selecting the source texts that correspond to his own competence. The
competence covers not only the translator's bilingual and bicultural ability, but also his
ability to keep the original literary style of the source text in the target text. So in this
chapter, Lin's bilingual and bicultural competence is first talked about. Then the
literary correspondence between the source text and Lin Yutang is dealt with. Lin's
competence in the familiar style writing and advocating Hsingling literature found the
correspondence between the translator and the source text, which shares the characteristics
of the familiar style writing and Hsingling literature. This chapter, together with Chapter
two, gives the answer to the question why Lin chose to translate the very source text
Fusheng Liuji.
The fourth chapter is about Lin's adaptationlselection to translational
eco-environment. The transladonal eco-environment covers source text, source-language
and target-language systems, each of which can be put in various dimensions, such as
linguistic, cultural and communicative dimensions. So in the translation process, the
translator adapts to various dimensions and then selects translation methods adaptively.
However, it's impossible for the translator to adapt to all the dimensions due to the
differences between two languages and cultures. Moreover, due to the different text
types and textual functions of the source texts, the dimensions can't be always treated
equally. In this chapter, the author chooses linguistic and cultural dimensions to analyze
how Lin adapted and selected in the process of translating Fushen,which is an
expressive text. As to the linguistic dimension, holding the idea that "The beauty of
works lies not in its contents, but in its form, which is the kernel of literature", Lin did his
best to keep the original form. He directly translated the four chapters of the original into
"Wedded Bliss," "The Little Pleasures of Life," "Sorrow," "The Joys of Travel", keeping the narrative perspective "I" and the author's inner narrative time-order centering around
bliss, pleasure, sorrow, and joy. Moreover, the division and arrangement of the natural
paragraphs in each chapter were kept in Lin's version. But for the sentences, due to the
great differences between classical Chinese and modern English, it's impossible to keep
the same patterns in the translation. Out of his responsibility for the target text readers,
Lin did the best he could to conform to English syntactic norms. As to cultural
dimension, Lin Yutang, with his great bilingual and bicultural proficiency, chose to
employ both domestication and foreignization at his will. Through domestication, Lin
adopted a transparent, fluent style to minimize the strangeness of the source text for TL
readers. At the same time, he also used foreignization
strategy now and then to satisfy
the curious TL readers' expectations for distinct foreign cultural features in the version.
With different functions, the two translation strategies were employed properly and made
mutually complementary in Lin's version.
&nb
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