英语毕业论文优秀毕业论文 《围城》的隐喻和明喻及其英译

英语毕业 论文 政研论文下载论文大学下载论文大学下载关于长拳的论文浙大论文封面下载 优秀毕业论文 《围城》的隐喻和明喻及其英译 Metaphors and Similes Used in Fortress Besieged and Translation Abstract Metaphors and similes are common figures of speech, which are also the most striking characteristics of the novel Fortress Besiege. How the translators, Jeanne Kelly and Nathan K. Mao, crack this nut of translation? This thesis intends to explore the differences in ways of thinking and culture between China and the West from the perspective of translation of figures of speech (metaphor and simile in particular). Focusing on some of the typical figures of speech in the novel, the thesis makes a comparison between the metaphor and simile in the original and their English version and finds that the translators keep almost all the features of the original novel through literal translation or foreignizaiton. Clearly they try to introduce Chinese culture to English-speaking readers. It is also found that, influenced by western culture, Qian Zhongshu uses lots of metaphors familiar to westerners in the novel. From the above analyses, the paper summarizes the translation criteria applied in the translated text and the ways of intercultural translation. Key words: Fortress Besieged, metaphor and simile, foreignization I 《围城》的隐喻和明喻及其英译 摘 要 比喻是一种普遍的现象，人们每时每刻都在使用比喻。我国著名学者钱钟书的小说《围城》中运用大量的修辞手法，构成其显著的艺术特征。珍妮凯利、茅国权在 翻译 阿房宫赋翻译下载德汉翻译pdf阿房宫赋翻译下载阿房宫赋翻译下载翻译理论.doc 的过程中是怎样处理这一难题呢,本文主要从修辞翻译的视角，探讨东西方思维模式与文化的差异在翻译中的体现。论文选取小说中的部分修辞手法，通过原文与译文的对照，发现珍妮凯利与茅国权在处理这些修辞手法时，基本保留了原文的特色，采用了直译手法或称异化手法(foreignization)，旨在向西方国家介绍中国文化，让英语国家的人民领略中华文化的博大精深。通过对照也发现由于钱钟书曾受西方文化的熏陶，小说中掺杂了许多西方人耳闻能详的比喻。论文最后 总结 初级经济法重点总结下载党员个人总结TXt高中句型全总结.doc高中句型全总结.doc理论力学知识点总结pdf 出译文所遵循的翻译标准及跨文化翻译的 方法 快递客服问题件处理详细方法山木方法pdf计算方法pdf华与华方法下载八字理论方法下载 和策略。 关键词:围城 比喻 异化手法 文化 II CONTENTS I Abstract.................................................................................... 摘要.................................................................................................. II 1 Chapter1 Introduction............................................................ 1.1 The Linguistic Feature of Fortress Besieged…………………. 1 1.2 Metaphor and Simile …………………………………............. 1 1.3 Culture and Metaphor Translation in Fortress Besieged............ 1 1.4Comments on the English Version of Fortress Besieged............ 5 Chapter2 Features of Metaphor in Fortress Besieged.......... 6 2.1 Influenced by French Culture and Philosophy .......................... 6 2.2 Exaggeration in Metaphor.......................................................... 8 2.3 Abnormality in Metaphor........................................................... 9 2.4 Satires......................................................................................... 11 Chapter3 Analyses of the Translation of Fortress Besieged 14 3.1 Communicative Translation and Semantic Translation………. 14 3.2 The Transference of Rhetorical Devices…………………….. 14 3.3 Understanding and Expressing………………………….......... 14 3.4Examples with Misinterpretation in Fortress Besieged……...... 15 18 Chapter4 Conclusion............................................................... 19 References................................................................................ Acknowledgements.................................................................. 20 III Chapter1 Introduction 1.1 The Linguistic Feature of Fortress Besieged Fortress Besieged is the only novel written by Ch?ien Chung-shu, a well-known Chinese writer and scholar. The novel has been loved by an increasing number of readers with its humorous and sarcastic tone, revealing vivid picture of typical intellectuals in war-time China. In numerous comic episodes in Fortress Besieged, some characters worship modernism, others admire Chinese heritage, and still others fantasize about marriage What is more worthy of notice is the tactful usage of figures of speech, mostly similes and metaphors, that contributes greatly to the success of the novel. Ch?ien Chung-shu is familiar with Western literary techniques. In his investigation of the linguistic and stylistic points of view in Fortress Besieged, he uses imagery and symbolism and cites numerous examples of his linguistic manipulation and of his semantic manipulation. The application of the above-mentioned techniques, has contributed significantly to the sarcasm, satire, irony, and wit found in the novel. 1.2 Metaphor and Simile Figures of speech as an effective rhetorical device has always been used in 1narrative writing as poetry to enhance the impact and appeal of a certain discourse . Among the most familiar figures of speech are metaphors and similes. The former involves an implicit comparison between two inherent that share some similar features, while the latter are simply metaphors marked by terms such as like, as 2though, similar, resembling. It is agreed among scholars that metaphor has been regrettably neglected in translation theory until Menachim Dagut published his essay 3entitled “Can Metaphor be translated” and a backup by Raymond van den Broeck, “The limits of translatability exemplified by metaphor translation”. One of the most striking artistic characteristics in the novel Fortress Besieged, is the employment of various rhetoric devices---metaphors in particular. 1.3 Culture and Metaphor Translation in Fortress Besieged Language is not only the carrier of message but the carrier of culture as well. Culture is here not understood in the narrower sense of man?s advanced intellectual development as reflected in the arts, but in the broader anthropological sense to refer 1 Nida: 1993: 83-90 2 For the sake of convenience, a cover term, metaphor, will be used throughout this dissertation to refer to both metaphor and simile. 3 1976 1 4to all socially conditioned aspects of human life . The acceptance of culture is possible but incomplete, because it is limited by the diversity in culture (material culture, institutional culture and mental culture) particularly by the diversity in language culture and intellectual culture. The transfer of culture can be resorted to various codes, but language is of course the most important code of all. As an part of culture, language carries culture and helps to develop culture. It is true to say that language is the life-blood of culture and culture is the track along which language forms and develops. As we all know, different nations have different culture and each culture has its individuality and universality. Translation as a communication between languages, it is not only a process of language of conversion but also a process of culture transplantation. We should try to look for similarities between languages and culture particularly similar messages and formal techniques, but it does this only because it is constantly confronting dissimilarities. It is unable to remove these dissimilarities entirely. A translated text should be the site where a different culture emerges, where a reader gets a glimpse of another cultural, and should be able to remind the reader of the gains and losses in the translation process and the unbridgeable gaps between cultures. To further illustrate this point, we just take a fewexamples selected from Fortressed Besieged: 1.门口桌子上，一叠饭碗，大碟子里几块半生不熟的肥肉，原是红烧，现在像红 人倒运，又冷又黑。旁边一碟馒头，远看也像玷污了清白的大闺女，全是黑斑点， 走近了，这些黑点飞升而消散于周遭的阴暗之中，原来是苍蝇。这东西跟蚊子臭 虫算得上小饭店里的岁寒三友，现在刚是深秋天气，还显不出它们的后凋劲节。 Rice bowls were piled on a large table at the entrance along with a few pieces of half-cooked fat meat on a large plate, meat which turned out to be red-cooked pork. Now cold and black , the pork was like a once prosperous man who was down on his luck and had lost his formerly ruddy complexion. Next to this was a plate of steamed bread which, from a distance, looked like a once pure-white virgin who has been soiled. It was covered with black specks and streaks. When one came closer, the black specks flew off and disappeared in the surrounding shadows. In fact, they were flies. These, along with mosquitoes and bedbugs, are considered the “three companions of winter” at small inns. As it was now just late autumn, their steadfastness in winter was not yet apparent. The pines, bamboos and plums, altogether are traditionally called “three companions of winter” and frequently eulogized in Chinese poems and appreciated by the Chinese people for their resilience and resistance to extremely cold winter. The “three companions of winter” symbolizes the fine qualities of the character of human beings: perseverance, yet, the translator translated them literally and didn?t convey the implied meaning to the foreign readers. So they couldn?t perceive the profound meaning behind it. For to target language readers, these are only three ordinary plants that have no particular culture connotation. Hence, in order to make the target language readers acquire the same response with the source language readers and 4 Ward H. Good enough 2 show the appropriate sign of respect to foreign cultures, so it is better add a note here. 2.他把客堂里的书画古玩反复看了三遍， 正想沈子培写“人”字的捺脚活像北平 老妈子缠的小脚，上面那样粗挺的腿，下面忽然微乎其微的一顿，就完事了，也 ! 算是脚的 After looking at the scrolls and antiques in the room for more than three times, he was struck by the thought that the foot stroke of Shen Tzu-p?ei?s character for “man” closely resembled the tiny bound foot of an elderly Peking maidservant. The top part of the leg character was stiff and bulky while the bottom part suddenly came to a tiny point and ended. Some foot that was. This Example is typical vivid representation of Chinese culture, such as „bound foot?, generally we nickname them as “three inches golden lotuses” which denounce and satirize the Chinese custom of footbinding, because it reminds us of Chinese women?s humiliated social position in feudal society: in order to flatter, humor man and make a living, they have their feet squashed into the sexually attractive shape of „Golden Lotuses?. Here, „bound foot? reflects a certain period of history --- feudal society in China?s thousands of years of development, which is totally unfamiliar to the western readers. The word for word translation of the tiny bound foot of an elderly Peking maidservant is inadequate for the readers, therefore the further explanation, I mean background knowledge is needed to facilitate the readers? comprehension. 3. 他的旧法兰绒外套经过浸湿烤干这两重水深火热的痛苦，疲软肥肿，又添上 风瘫病;下身的裤管，肥粗圆满，毫无折痕，可以无需人腿而卓立地上，像一对 “不皱领带”，给水洗得缩了，瘦小蜷曲，像前空心的国家柱石;那根充羊毛的 清老人的辫子。 Li?s old flannel overcoat, which had undergone a soaking and baking dry, the two disasters of water and fire, was limp, puffed, and in addition “paralyzed.” His trouser legs were thick and perfectly rounded without a single crease, and they could have stood up by themselves like the two hollow pillars of a nation. The imitation wool “wrinkle resistant tie,” shrunk by the water, was thin and twisted like an old man?s pigtail in Manchu times. In the above example, „an old man?s pigtail in Manchu times? recalls our memory to a very specific period in China?s history --- Qing dynasty, when Qing?s 5army marched across Shan Hai Guan and began to grab control over China, the governor gave orders to their subjects (Han people) to conform to Manchu?s customs: men were required to wear a long pigtail behind their backs. And also, there was a well-spread ridiculous slogan on the tips of everybody?s tongue at that time, that is, „if you wanted to keep your head on your shoulder, you must wear a pigtail on your head?. But all of these are totally unfamiliar to the western readers: you can?t expect them to understand the source text as we Chinese do. Thereby, a further explanation is 5 1644 3 absolutely necessary. 4. 夜黑得太周密了，真是伸手不见五指～在这种夜里，鬼都得要碰鼻子拐弯， …此时此刻的荒野宛如燧人氏未生猫会自恨它的一嘴好胡子当不了昆虫的触须。 以前的世界。 The night had turned such a dense black that a person literally could not see the fingers on his out-stretched hand! On such a night even a ghost would stub its nose turning a corner. Cats would wish all their whiskers were like the antennae of insects. … By then the barren plain resembled the world before the birth of Sui-jen Shih.. The phrase „before the birth of Sui-jen Shih? is based on Chinese mythological legend. It is said that before the birth of Sui-jen Shih, the cosmos was in great chaos, cold and complete darkness, which may confuse the western readers who know nothing about Chinese mythology and arose the readers? curiosity: who is Sui-jen Shih? What did he do? In order to facilitate the readers? reading, background knowledge is welcomed. 5. 这一张文凭，仿佛有亚当，夏娃下身那片树叶的功用，可以遮羞包丑;小小 一方纸能把一个人的空疏，寡陋，愚笨都掩盖起来。 This diploma, it seemed, would function the same as Adam and Eve?s figleaf. It could hide a person?s shame and wrap up his disgrace. This tiny square of paper could cover his shallowness, ignorance, and stupidity. The phrase „function as Adam and Eve?s figleaf? is originated from Biblical story, which is on the tip of everybody?s tongue in the western society. So the understanding of it is obviously no problem. 6. 上海这地方比得上希腊神话里的魔女岛，好好一个人来了就会变成畜生。 Shanghai is like the island of Circe in Greek mythology. It can turn a perfectly decent fellow immediately into an animal. 7. 对任何人发脾气，都不能够像对太太那样痛快。父母兄弟不用说，朋友要绝 交，用人要罢工，只有太太像荷马史诗里风神的皮袋，受气的容量最大，离婚毕 竟不容易。 There is no one on whom a person can vent his anger with as much all-out relish as on his wife. Friends will break off and servants will go on strike, not to mention parents and brothers. Only a wife, like the Wind God?s leather bag in Homer?s epic poem, has such a tremendous capacity for taking in hot air, for divorce after all is not easy. The preposition phrase „the island of Circe in Greek mythology? invokes the reader?s imagination about the legendary story of Odysseus who was at Troy for ten years, and for another ten years, he traveled across the oceans, shipwrecked, eventually deprived of all his companions, frequently within an inch of his life, until 4 in the twentieth year he landed once more on the shores of his island home. Circe, the sorceress, who possesses the magical power of giving human beings the animal shape by offering men food, and with it she mixed a drug which caused them to forget their native land; and when they had finished, she struck them with her wand and drove them off into the pig-sties. As for „the Wind God?s leather bag?, the western readers are at home. 8. 这吻的分量很轻，范围很小，只仿佛清朝官场端茶送客时的把嘴唇抹一抹茶 碗边，或者从前西洋法庭见证人宣誓时的把嘴唇碰一碰圣经，至多像那些信女们 吻西藏活佛或罗马教皇的大脚指，一种敬而远之的亲近。 The kiss was so light and covered such a small area, it was like the way a Mandarin host brushed his lips against the brim of the teacup as a subtle hint to a guest who had overstayed his welcome in the Ch?ing dynasty, or else it was like the way a witness taking the oath in count in the West touched the Bible to his lips. At most it was similar to the way female disciples kissed the Living Buddha of Tibet or the Pope?s big toe—a kind of respectful intimacy. The last example is a mixture of Western culture and Eastern culture. The kiss was so light that it is compared to Mandarin host (typically in Qing dynasty) brushed his lips against the brim of the teacup: a sign of cold politeness or a witness taking the oath in count in the west touched the bible to his lips: a ritual. These two similes represent vividly the western and eastern culture respectively. All in all, from the above examples, we can perceive the two different cultures clearly---Western culture and Eastern culture intermingled with each other harmoniously in Ch?ien?s novel Fortress Besieged. Figures of speech like this, which reflect culture, are strewn all over the novel. Hence, we could conclude that language is an integral part of culture. The concept of culture as a totality of knowledge, proficiency and perception is fundamental in our approach to translation. Consequently, we could conclude if language is an integral part of culture, the translator needs not only proficiency in both languages, but also be at home with two cultures as well. In other words, he must be bilingual and bicultural. The extent of his knowledge, proficiency and perception determines not only his ability to produce the target text, but also his understanding of the source text. 1.4 Comments on the English Version of Fortress Besieged The English Version of Fortress Besieged translated by Jeanne Kelly and Nathan K. Mao has kept the original images and meaning by adopting similar expressions; and appropriate explanation. Generally speaking, it is quite successful. 5 Chapter2 Features of Metaphor in Fortress Besieged What?s rhetoric phenomenon? According to Chen Guang-lei, it refers to the writer or speaker employs the literature material, manipulating various presentation devices to express his/her thought and emotions to readers or listeners. This phenomenon lies universally in the activities of human society in which people communicate with each other with language. So we can say that every word you choose, every sentence you speak consist of a kind of rhetoric phenomenon. Rhetoric, so to speak, depending on such factors as the theme, specific context, the purpose of writing and speaking, the people or object you are addressing and the situation therein, manipulates all the language material and expressing devices to express what the writer intends to so as to achieve the best effect possible. This process, in effect, is to tap all the possibilities of language in order to meet the “three requirements of beauty”: beauty of atmosphere to move the heart; the musical beauty of sound to entertain one?s ears and the beauty of form to please the eyes. (Lu Xun, An Outline of the History of the Chinese Literature) Here, “to move the heart, to entertain the ears, to please the eyes” is called the effect. This effect is created by the “three requirements of beauty”. Hence, effect originates from beauty, and stressing on effect can?t be separated from beauty. One of the most striking artistic characteristics in the novel of Fortress Besieged written by Ch?ien Chung-shu, is the employment of various rhetoric devices. It could be compared to a splendid garden of metaphorical phrases. Metaphorical phrases, as a common rhetoric device, pay particular attention to its novelty and originality. Hence, it?s necessary for the writer to seek for a certain kind of “strangeness”, trying to avoid the taboo in rhetoric devices---plagiarism and universality. Since plagiarism and popular thinking pattern couldn?t create vivid figures of speech. Personally, I think, it is the employment of a large number of metaphorical phrases that makes Fortress Besieged on tips of everybody?s tongue and satisfied the reader?s aesthetic needs. 2.1 Influenced by French Culture and philosophy Ch?ien Chung-shu was not only well-versed in the learning of both ancient and modern times but also had a thorough knowledge of both western and traditional Chinese literature. The originality of his metaphorical phrase and the range of his analogy are extensive. A large number of unfamiliar contents are introduced into his figures of speech, consequently enhances its novelty. Ch?ien Chung-shu is particularly at home in applying French culture into his novel. Through the distinction of certain French words, phrases and idioms, he suggested its thoughtful meaning and created a dramatic rhetoric effect. For instance: The title itself proves this: Miss Su, one of the characters, said, “There?s a French saying similar to that. Instead of a bird cage, it?s a 6 fortress under siege (forteresse assiegee). The people outside the city want to break in and the people inside the city want to escape.” There are many examples to show Ch?ien was erudite in French culture. In description of Fang Hung-chien?s hunger, he used French expression “long comme un jour sans pain”. 9. 鸿渐饿得睡不熟，身子像没放文件的公事皮包，几乎腹背相贴，才领略出法 “”长得像没有面包吃的日子还不够亲切;长得像没有面包吃的日子，国人所谓 长得像失眠的夜，都比不上因没有面包吃而失眠的夜那样漫漫难度。 Hung-chien was too hungry to fall sleep. His body felt like an attaché case with no papers in it and his back and stomach were nearly stuck together. He then realized that what the French call “long like a day without bread” (long comme un jour sans pain) was nowhere near as bad as a night without sleep because of no bread. While describing Sun Jou-jia?s slim figure, he quoted “As for her figure, however, they were not without disappointment. Though Jou-jia could not compare with Sarah Barnhard, the French actress, who was so slim-waisted that swallowing 6one quinine pill would have made her look pregnant, she was undeniably slim”. From the previous examples, we could see: French culture is indeed not only an important part of his origin and inspiration of his literary creation but a part of his knowledge as well. For another example : 10. 他深知自己写的英文富有英国人言论自由和美国人宣言独立的精神，不受文 法拘束的，不然真想仗外国文来跟唐小姐亲爱，正像政治犯躲在外国租界里活动。 He was well aware that his English was imbued with the spirit of the free speech of the British and the Declaration of Independence of the Americans in not being bound by the rules of grammar. Otherwise, were he really to depend on a foreign language to “dear” Miss T?ang, it would be like a political offender carrying out his activities while hiding in the foreign concessions in China. Ch?ien let Fang talk love in foreign language for depending on a foreign language to express love “would be like a political offender carrying out his activities while hiding in the foreign concessions in China”,which is both secure and reliable. The words, “tung-p?o” when pronounced by Miss Pao in her South Seas accent sounded like tombeau, the French word for tomb. In such descriptions, French becomes the excellent tool to create conflict, and achieve a rhetoric effect. Except that, Ch?ien showed special interest in French philosophy and was greatly influenced by French philosopher such as Rousseau, Jaque Derrida and Men-tien. It is said that the title originates from Men-Tien?s (the great philosopher during French Renaissance) essay Volume 3, Chapter 5. Ch?ien?s another unfinished novel 《百合 心》 also is metamorphosed from French idiom (Le coeurd?artichant). It means that man?s heart is just like a lily, always falls layer by layer until it reduces to nothingness. The implication in the title is quite similar to manifestation of Deconstruction. 6 Page: 615, para1, line17 7 Because Ch?ien Chung-shu once quoted conclusion from contemporary literary critic R. Barthes(《风格极其影像》) saying that whether in recitation of poetry or reading books, one should not confine oneself to the surface of the words; he must exceeds the superficial level of the words to grasp the spiritual essence between the lines. Because one of the features of this novel lies in its structure--- „like spring onion is stripped away layer by layer, its core hidden in it but not to be found.? The similar thought is expressed in French philosopher Jaque. Derrida?s work: Difference, in which he emphasizes process and structure not the essence and result (result lies in the structure). Because result and essence are always disappearing accompanied with the process of structure?s being stripped. In other words, there is no result at all. The finding of the result means the end of human?s recognition. If man?s recognition ends, what does the meaning mean? 2.2 Exaggeration in Metaphor Another characteristic in Fortress Besieged is its exaggerated figures of speech. Its metaphorical phrases often accompanied with hyperbole or other rhetoric devices, thus making it more vivid and unique. In Fortress Besieged, almost everybody is the target of being satirical. People are mocked most for their appearance and facial expression. Just like a caricature, Ch’ien applies exaggeration into his metaphorical phrases that makes the whole picture ridiculous. This could be eloquently borne out by the following examples: 11. 孩子不足两岁，塌鼻子，眼睛两条斜缝，眉毛高高在上，跟眼睛远隔得彼此 要害相思病，活像报上讽刺画里中国人的脸。 Her son, not yet two years old, had a snub nose, two slanted slits for eyes, and eyebrows so high up and removed from the eyes that the eyebrows and the eyes must have pined for each other-a living replica of the Chinese face in newspaper caricatures. (Page: 5, para1, line8) In describing the child?s facial characteristics, Ch?ien exaggerated the distance between his eyebrows and the eyes to create a certain artistic effect by saying that ‘they must have pined for each other’ and presenting a vivid picture before us: a living replica of the Chinese face in newspaper caricatures. 12. 她眼睛并不顶大，可是灵活温柔，反衬得许多女人的大眼睛只像政治家讲的 大话，大而无当。 Not especially large, her eyes were lively and gentle, making the big eyes of many women seem like the big talk of politicians---and useless. To talk about the charming of Miss Tang?s big eyes, Ch’ien lavished satire on the other women?s big eyes by exaggerating that they were like the politician?s useless big talk. As we all know that big eyes have no connection with big talk, the only similarity is they share one similiaries: big. The author?s intention clearly shows that 8 he wants to satirize and criticize those politicians. It seems like a causal word but really means a lot. 13. 不轻易开口的人总使旁人想他满腹深藏着智慧，正像密封牢锁的箱子，一般 人总以为里面结结实实都是宝贝。高松年在昆明第一次见到这人，觉得他诚恳安 祥，像个君子，而且未老先秃，可见脑子里的学问多得冒上来，把头发都挤掉了。 The satire here shows its own peculiarity: a very complicated metaphorical phrase. For one thing, people who don?t talk readily are described as a locked, tightly sealed chest, which is assumed to be crammed with treasure, but in fact it is not. For another, Han?s premature baldness is regarded as the symbol of knowledge and it was bursting forth and crowding out his hair, but apparently it is not. So, the conclusion is he is neither wise nor knowledgeable. 14. 李先生脸上少了那副黑眼镜，两只大白眼睛像剥掉壳的煮熟鸡蛋。 Without his dark glasses on his face, Li?s large, white eyes looked like two shelled hard-boiled eggs. Have you ever seen the shelled boiled eggs? The author exaggerated and presented the vivid yet funny picture before us: lifeless, monotonous, just like a poker face. “”“15. 禇哲学家害谗癆地看着苏小姐，大眼珠仿佛哲学家谢林的绝对观念，像手 ”，险的突破眼眶，迸碎眼镜。 枪里弹出的子药 Philosopher Ch?u eyed Miss Su greedily, his pupils nearly imitating the German philosopher Schelling?s “absolute,” which was “like a bullet shot from a pistol”, bursting from his eyesockets with double-barreled action and shattering his glasses. Philosopher Schelling?s “absolute” is indeed an unexpected imagination, yet, the simile next surprised most: the author exaggerated that it was “like a bullet shot from a pistol”, bursting from his eyesockets with double barreled action and shattering his glasses. The novelty of this simile lies in its combination with hyperbole and strikes the readers with freshness by highlighting Chu?s lasciviousness and ugliness. 2.3 Abnormality in Metaphor Generally speaking, people choose their metaphorical phrases from the perspective of aestheticism, but Ch?ien Chung-shu developed a new method of his own. He likes to employ “filthy object” in his figures of speech and gives readers the feeling of freshness and rarity. Such as he compares a person?s shortcoming to a monkey?s tail in the example: 16. 事实上，一个人的缺点正像猴子的尾巴，猴子蹲在地面的时候，尾巴是看不 见的，直到他向树上爬，就把后部供大众瞻仰，可是这红臀长尾巴本来就有，并 非地位爬高了的新标识。 He didn?t realize that a person?s shortcomings are just like a monkey?s tail. When it?s 9 squatting on the ground, its tail is hidden from view, but as soon as it climbs a tree, it exposes its backside to everyone. Nevertheless, the long tail and red bottom were there all the time. They aren?t just a mark of having climbed to a higher position. In our daily life, people in public rarely mention the monkey?s red bottom for it is very indecency. Chinese people traditionally enjoy their acclaim for reservation, civilization etc, they manage to avoid to these vulgar speech. But Ch?ien, on the contrary, unveils. Figures of speech of this category also can be seen from the following: 17. 这一张文凭，仿佛有亚当，夏娃下身那片树叶的功用，可以遮羞包丑;小小 一方纸能把一个人的空虚，寡陋，愚笨都掩盖起来。 This diploma, it seemed, would function the same as Adam and Eve?s figleaf. It could hide a person?s shame and wrap up his disgrace. This tiny square of paper could cover his shallowness, ignorance, and stupidity. Adam and Eve?s figleaf is rarely talked about in reality, but Ch?ien?s greatness lies in its originality, He frequently mentioned something that most people manage to avoid it, thus highlighted its peculiarity. 18. 沈太太生得怪样，打扮得妖气。她眼睛下两个黑袋，像圆壳行军热水瓶，想 是储蓄着多情的热泪，嘴唇涂的浓胭脂给唾沫带进了嘴，把黯黄崎岖的牙齿染道 红痕，血淋淋的像侦探小说里谋杀案的线索。 Mrs Shen was rather odd-looking and very heavily made up; the two black bags under her eyes were like round canteen bottles, filled probably with hot, passionate tears; the thick lipstick had been washed into her mouth and colored the yellowish, rough ridges of her teeth red, making her teeth look like hemorrhoids dripping with blood or the clues to a bloody murder in a detective yarn. To highlight Mrs. Shen?s vulgarity in trying desperately to be attractive, Ch?ien wields his imagination, conjuring up such disgusting images of round canteen bottles (the two black bags of hot and passionate tears) and the clues to a bloody murder in a detective yarn (the yellowish, rough ridges colored by lipstick). Here we readers can only applaud Ch?ien?s superb power of satire of what is grotesque. 19. 那女人本在把孙小姐从头到脚的打量，忽然发现顾先生的注意，便对他一笑， 满嘴鲜红的牙根肉，块垒不平像侠客的胸襟，上面疏疏地缀几粒娇羞不肯露出头 的黄牙齿 When the woman, who had been giving Miss Sun a careful scrutiny from head to toe, suddenly discovered she had Ku?s attention, she flashed him a big smile, revealing a mouthful of fresh red gums, which bulged like a hero?s chest. Sparsely studded with a few yellowed teeth, the upper jaw was too bashful to show itself. To describe the prostitute Wang Mei-yu?s disgusting image, Ch?ien drew readers? 10 attention to her fresh red gums and compare them to a hero?s bulged chest, sparsely studded with a few yellowed teeth, 20. 有人失恋了，会把他们的伤心立刻像叫化子的烂腿，血淋淋地公开展览，博 人怜悯，或者事过境迁，像战士的金疮旧斑，脱衣指示，使人敬佩。鸿溅只希望 能在心理的黑暗里隐蔽着，仿佛害病的眼睛避光，破碎的皮肉怕风。 Some people when jilted will immediately display their broken hearts in public and drip with blood like a beggar?s scraped legs to stir pity. Or else, after the whole affair is over, they will pull up their clothes in the manner of a veteran and point it out like an old battle scar to arouse awe and wonder. Hung-chien only hoped he could conceal his scar in the dark recesses of his mind, like the infected eyes which shun the light or the torn flesh which fears the wind. Ch?ien spared no effort in presenting a hideous picture before the readers? eyes: in example 5, he described the jilted people?s broken heart either as a beggar?s scraped legs dripping with blood or an old battle scar. All his similes have a common characteristic---making people feel sick. 2.4 Satires Satires constitute another unique figure of speech found throughout the novel. It arouses the reader?s rich imagination and frequently his wonderful mischievous sense of humor with a laugh that bend you double. In order to describe vividly Mr. Zhang –Fang Hung-chien?s future father-in-law?s postural, hypocritical and showing-off character, he poked fun at everybody and everything: 21. 他说话里嵌的英文字，还比不得嘴里嵌的金牙，因为金牙不仅妆点，尚可使 用，只好比牙缝里嵌的肉屑， 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 示饭菜吃得好，此外全无用处。 The English words inlaid in his speech could not thus be compared with the gold teeth inlaid in one?s mouth, since gold teeth are not only decorative but functional as well. A better comparison would be with the bits of meat stuck between the teeth---they show that one has had a good meal but are otherwise useless. In describing Prof. Li Mei-ting?s psychology of selfishness, putting his self-interest above all else, Qian satirizes: 22. 辛楣笑道:“预谢，预谢～有了上半箱的卡片，中国书烧完了，李先生一个 ” 人可以教中国文学，有了下半箱的药，中国人全病死了，李先生还可以活着。 Smiling, Hsin-mei said, “Let me thank you in advance! With the cards in the upper half of the trunk if all the books in China were burned, Mr. Li alone could teach Chinese literature. And with the medicine in the bottom half, if the Chinese all died of disease, Mr. Li could still stay alive.” Qian?s style lies in that all the familiar sayings become totally fresh to Chinese readers. When he describes the maidservant?s skimping on time and materials in 11 cooking, he quips: 23. 最近一次，上来的鸡汤淡得像白开水，我跟汪先生:„这不是煮过鸡的汤，只 ? 像鸡在里面洗过一次澡。 In the most recent case she served some chicken broth, which was as thin as plain drinking water. I said to Mr. Wang, „This isn?t broth from boiling a chicken. It?s more like a chicken has had a dip in it. Also, the intellectual?s vain glory and snobbishness is satirized harshly at the hand of Qian?s through the very example of Lu Tzu-hsiao: 24. 他写给外交部那位朋友的信，信封虽然不大，而上面开的地址“外交部欧美 ”六字，笔酣墨饱，字字端楷，文盲在黑夜里也该一目了然的。 司 Though the envelope for the letter he wrote to his friend in the Ministry of Foreign Affairs was not very big, the seven words “Ministry of Foreign Affairs, European-American Bureau” of the address were written in such bold, black, neatly penned characters that an illiterate should have been able to make them out at a single glance in the depths of night. The following examples completely show Qian?s ingenuity and gift in inventing satires. Such as when he describes the narrow space on the long wooden bench for Miss Sun to sit, he writes ironically: 25. 孙小姐算在木板搭的长凳上有个坐位，不过也够不舒服了，左右两个男人各 移大腿让出来一角空隙，只容许猴子没进化成人以前生尾巴那小块地方贴凳。 Miss Sun had something of a seat on the long wooden bench, but it too was rather uncomfortable. The two men on either side had both shifted their thighs to make a space just big enough to fill in the small section of a monkey?s tail before the monkey had evolved into man. To satirize the young girl?s desperation to make herself to be attractive, he mocks: 26. 那女孩子年纪虽小，打扮得脸上颜色赛过雨后虹霓，三棱镜下日光或者姹紫 嫣红开遍的花园。她擦的粉不是来路货，似乎泥水匠粉饰墙壁用的，汽车颠动利 害，震得脸上粉粒一颗颗参加太阳光里飞舞的灰尘。 Though a young girl, her face was made up in colors to rival the rainbow after a rain, sunlight through a prism, or a gaily arrayed flower garden in full bloom. The powder she had on wasn?t imported, but seemed more like what cement masons used to plaster over walls. The bus shook so violently that particles of the powder from her face joined the dust and danced in the sunlight. But of all these satires, the most amusing is: 12 27. 门口桌子上，一叠饭碗，大碟子里几块半生不熟的肥肉，原是红烧，现在像 红人倒运，又冷又黑。旁边一碟馒头，远看也像玷污了清白的大闺女，全是黑斑 点，走近了，这些黑点飞升而消散于周遭的阴暗之中，原来是苍蝇。这东西跟蚊 子臭虫算得上小饭店里的岁寒三友，现在刚是深秋天气，还显不出它们的后凋劲 节。 Rice bowls were piled on a large table at the entrance along with a few pieces of half-cooked fat meat on a large plate, meat which turned out to be red-cooked pork. Now cold and black , the pork was like a once prosperous man who was down on his luck and had lost his formerly ruddy complexion. Next to this was a plate of steamed bread which, from a distance, looked like a once pure-white virgin who has been soiled. It was covered with black specks and streaks. When one came closer, the black specks flew off and disappeared in the surrounding shadows. In fact, they were flies. These, along with mosquitoes and bedbugs, are considered the “three companions of winter” at small inns. As it was now just late autumn, their steadfastness in winter was not yet apparent. To show the highly unsavory food and unhygienic condition of the inn, Ch?ien uses such figures of speech as hyperbole, pun, metaphor as well as parody. Hong ren (favored man) is a pun on the color of the meat and his disfavor is comparable to the loss of the color red of a decayed loaf of meat. And equally interesting is the usage of parody here: the pines, bamboos and plums, the three winter companions (Suihan sanyou) frequently eulogized in Chinese poems for their resilience and resistance to extremely cold weather are changed wisely into pests of flies, mosquitoes and bugs languishing in winter, thus achieves a humorous effect. All in all, each figure of speech has its peculiarity and brilliantness and fully exhibits Ch?ien?s artistic gift and literary attainment. 13 Chapter3 Analyses of the Translation of Fortress Besieged 3.1 Communicative Translation and Semantic Translation Peter Newmark holds that all translations must be in some degree both communicative and semantic. It is actually a matter of difference of emphasis. A semantic translation attempts to render, as closely as allowed by the semantic and syntactic structures of the target language, and the exact contextual meaning of the original. On the other hand, one translates a text to meet the target reader?s demands---to inform him, to persuade him, to give him advice. All this is the aim of communicative translation, which attempts to produce on its target language readers an effect as close as possible to that obtained on the source language readers of the original. 3.2 The Transference of Rhetorical Devices English and Chinese both have a long history with abundant rhetorical devices. That is to say, many Chinese common rhetorical devices have the corresponding ones in English, which makes it possible to reproduce the original rhetorical effect in a semantic way. In this case, semantic translation can be used. On the other hand, Chinese people and English people vary in ways of thinking and aesthetic standards as well as lexical and syntactic structure, especially in the aspect of words collocation, which leads to adopting different rhetorical devices to express the same concept. Thus, communicative translation will always be replaced. In other words, the translator should, if he can, adopt an equivalent form and preserve the original rhetorical device in the translation. As a famous literary work, Fortress Besieged displays a great variety of rhetorical devices. The following analysis deals with the transference of some important rhetorical devices 3.3 Understanding and Expressing Understanding is the linchpin upon which translation depends. Here, Understanding not only refers to the requirement for a translator to understand and have a mastery control of the text of source language and target language but the culture concerned and social background as well. During the process of translation, the comprehension of related culture and social background is paramount for the translator, otherwise, misinterpretation and even distortion will inevitably occur and cause misunderstanding. Just as Huang Bang-jie mentioned in his work the technique of translation of figures: 28. “He is seventy-six years of age,” said Mr. Smallweed. Mrs. Smallweed piped up: “Seventy-six pounds! Seventy-six thousand bags of money! Seven-six hundred thousand million of parcels of bank notes!” 14 Somebody translated literally as follows: 29. “他今年七十六岁，”斯墨尔维德先生说。 斯墨尔维德太太尖叫起来:“七十六镑～七万六千袋钱～七兆六千亿包钞票～” But another translator considered that Mrs. Smallwood is a money-mania, at hearing of thefigures, she will associate it with the money sub-consciously. It is utterly meaningless for her whether the figures of the money are accurate or not. So he changed the version: 30. “” 他今年七十六岁，斯墨尔维德先生说。 “” 斯墨尔维德太太尖叫起来:七十六镑～七十六万袋钱～七十六万万万包钞票～ Apparently, in the first version, the figures have been translated word for word accurately and they strike the readers superficially: very faithful to the source text. However, it destroyed the formation of the figures---seventy-six, which Mrs. Smallweed associated with the money, consequently, reduced the original text?s flavor and characteristic. In the second version, the translator translated seven-six thousand bags of money into “七十六万袋钱”, Here, he exaggerated the figure ten times meanwhile “seventy-six hundred thousand million of parcels of bank notes” has been translated into “七十六万万万包钞票”, thus it reduces the figure one hundred times. From the surface, the translation goes too far, but the translator really understands the spirit of the original text: the three figures concerning about seventy-six have been maintained and expressed, hence, the image of an old money-worship has been described vividly. A translator should manage to facilitate the difficulties in comprehension caused by the differences in cultures and social background. 3.4 Examples of Misinterpretation in Fortress Besieged It?s undoubted that the translation of Fortress Besieged has achieved a great success. It would be ridiculous if I wag my tongue to sing praise for it. To add embroidery to the silk is absolutely unnecessary. Here, I would like to point out certain sentences misinterpreted and discuss how it was produced: 31. 不知哪里的蛙群齐心协力地干号，像声浪给火煮得发沸。 From somewhere a pack of frogs croaked hoarsely, their mouths, lips, throats, and tongues working in unison as though the sound waves were being stewed over a fire until they bubbled: “ Brekekey Coky Coky,” like the chorus in Aristophanes? comedies, or of Yale University?s cheerleaders. The italicized part, personally I think, is redundant. It blatantly violates the principle of “faithfulness” because the original text didn?t mention it. The further explanation goes too far and paints the lily. Casting a back glance at the version of Fortress Besieged, we could see clearly that in many places, the translator added his own explanation, for instance: 32. 沈太太生得怪样，打扮得妖气。她眼睛下两个黑袋，像圆壳行军热水瓶，想 是储蓄着多情的热泪，嘴唇涂的浓胭脂给唾沫带进了嘴，把黯黄崎岖的牙齿染道 15 红痕，血淋淋的像侦探小说里谋杀案的线索。 Mrs Shen was rather odd-looking and very heavily made up; the two black bags under her eyes were like round canteen bottles, filled probably with hot, passionate tears; the thick lipstick had been washed into her mouth and colored the yellowish, rough or ridges of her teeth red, making her teeth look like hemorrhoids dripping with bloodthe clues to a bloody murder in a detective yarn. The italicized part making her teeth look like hemorrhoids dripping with blood is totally invented by the translators. Although in the process of translation, occasionally, we should adjust information to add correspondent cultural background explanation or notes to facilitate the readers? reading. 33.他在美国人花旗洋行里做了二十多年的事，从“写字”(小书记)升到买办， … 手里着实有钱。只生一个女儿，不惜工本地栽培 For over twenty years he had worked for an American firm, the Stars and Stripes Company, rising from a clerk to become a comprador, and he had amassed a sizable fortune. He had but one daughter and had not spared any expense in her upbringing. In the translation of “the Stars and Stripes Company” the translators violate the principle of faithfulness. They failed to find its equivalence. „花旗洋行?should be translated into „City Bank?for „the Stars and stripes Company?has a wider range, it can refer to any company belonging to the United States while „花旗洋行?is a specific one. 34. 议决每位导师每星期至少和学生吃饭两顿，由训导处安排日期;校长因公事 应酬繁忙，而且不任导师，所以无此义务，并保有随时参加吃饭的权利。因为部 视学说，在牛津和剑桥，饭前饭后有教师用拉丁文祝福，高松年认为可以模仿。 It was decided that each tutor would eat at least two meals with the students every week according to a schedule drawn up by the office of the Dean of Students. Because the inspector from the ministry had said that at Oxford and Cambridge the teachers gave a blessing in Latin before and after each meal, Kao Sung-nien felt they should do the same. The italicized part is obviously omitted by the translators. I don?t know whether it is due to the translators? negligence or they purposely do so or even something is wrong with the original manuscript. It is really baffling. 35. 他只奇怪那些跟年轻人混的同事们，不感到老一辈的隔膜。是否他们感到了 而不露出来,年龄是个自然历程里不能超越的事实，就像饮食男女，像死亡。 He wondered why those of his colleagues who went around with students never felt the generation gap. Or did they feel it and just not let it show? Though science has advanced, man still isn?t the master of his own fate. Age is an insurmountable fact in the natural course of things, like eating, drinking, sex, and death. The italicized part is obviously the translators? own comment, his understanding, 16 not the author?s. There are many places in the version of Fortress Besieged that the translator issued his/her own opinions very causally here and there. In my opinion, I think the translation should cling to the source text, be faithful to the author, as translator, he or she should not invent something. Just as someone once compared the translation to “somebody who is dancing with fretted chains”. That is to say, the translator?s freedom is rigidly limited, he/she must be confined to a certain degree. 36. 李梅亭这两日窃窃讲的话，比一年来向学生的谆谆训导还多。他散布了这消 … 息，还说 Li Mei-t?ing?s whispered remarks during those few days far outnumbered all his earnest exhortations to the students during the entire year. Like Leonardo da Vinci, he just wished there were more muscles in his tongue, so it could withstand all the exercise. As he spread the news around, he added… The italicized part is apparently the translator?s thought, not the author?s. To readers, they are more confused: Why did Leonardo da Vinci wish there were more muscles in his tongue? What kind of exercise is it? Here, the translator arose more questions and asked for trouble. If we delete the italicized part, the meaning is quite clear. 37. 阿丑那句话现在知道了都懊悔。一向和家庭习而相忘，不觉得它藏有多少仇 … 嫉卑鄙 He now even regretted having heard Ah Ch?ou?s remark. Having heard their judgments of him behind his back, he?d be prepared to defend himself after death when interrogated by the King of Hades about his sins. He?d been too accustomed to his family all along to realize how much enmity and meanness lay underneath. The italicized part committed the same mistake: unnecessary amplification . 38. 他虽然知道唐人“欲穷千里目，更上一层楼”的好诗，并没有乘电梯，走完两 … 层楼早已气馁心怯 Though he knew the lovely T?ang poem, “For a thousand li view, ascend another flight of stairs,” he didn?t take the elevator. And though he didn?t know Dante?s melancholy line, “How hard the passage to descend and climb\By other?s stairs,” by the time he had climbed the two flights, he was already feeling so downcast and disheartened… Here the translators maybe strike the readers with the impression that they want to show off their erudition because Dante?s melancholy line not only facilitates their understanding of the original text but also adds difficulty to it. Through the previous carefully selected examples, we can see that any translation is inevitably stained with its imperfectness. It requires the translator?s carefulness, painstaking effort and above all, the correct understanding. 17 Chapter4 Conclusion The existence of language differences and culture differences is the problem that the translator will inevitably meet in the process of translation. In the management of cultural differences, foreignization dominates and adding foot notes or end notes are all the auxiliary means. 7Venuti thinks that the translation strategy of fluency could veil the differences between different cultures, as a matter of fact, it is a behavior of cultural imperialism. Therefore, he claims that resistant strategies should be adopted, because the translation strategies of resistance could mirror the differences between cultures and languages. We should oppose to the strategy of imperialistic domestication because it could disguise the differences between language and culture that cause difficulties in readers? comprehension. The communication between cultures is not a short process. We can not solve the problem at once. Therefore, in the process of translation, we shouldn?t use only one domestication or foreignization, we should combine them. way --- In translating works like Fortress Besieged which are related to culture, the translators should have more translation strategies, because the target readers may not understand well when they are suddenly thrust into an uncharted ocean of metaphors, or whatever picturesque language. To be able to do this, a translator has to be bilingually (or even multilingually) competent and make the images and meaning in the SL comprehended to the target readers while trying to retain the style of the original. Obviously, it is a life-long process. 7 1995:20 18 References 1. 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London: Routledge, 1995:20 10.陈定安,《英汉比较与翻译》[M].中国对外翻译出版公司1988版，第297， 303,310页 11. 程镇球,《翻译问题探索》[M].商务印书馆1980版，第175，217-218页 12. 高辛勇,《修辞学与文学阅读》[M].北京大学出版社1997版，第79-80页 13. 刘宓庆,《文化翻译论纲》[M].湖北教育出版社1999版，第83页 14. 束定芳,《隐喻学研究》[M].上海外语教育出版社2000版，第42-43页 15. 赵桂华,《翻译理论与技巧》[M].哈尔滨工业大学出版社2003版，第14-16 页 16. 周仪、罗平,《翻译与批评》[M].湖北教育出版社1999版，第81页 19 Acknowledgements Casting a backward glance at the process of writing this thesis, there are so many people meriting my words of thanks that one single page would be anything but spacious to serve that purpose. The first words of thanks are given to Mrs. Cui Yanqiu, my supervisor, whose constructive suggestions and comments have contributed greatly to the completion of this thesis. She devotes a considerable portion of her time to reading my manuscripts and making suggestions for further revisions. Her tremendous assistance in developing the framework for analysis and reviewing the draft version of this thesis several times as well as her great care in life deserve more thanks than I can find words to express. My sincere thanks also go to all my teachers for their academic advice and generous help during my study in Foreign Language School of Beijing institute of technology (Zhuhai campus). Any progress that I have made is the result of their guidance and selfless care. Among them, I?d like to express my special thanks to Professor Li Pengfei, Professor Zhang Qin, and Mr. Zeng Xun. 20