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【毕业设计】从目的论看《红高粱家族》中文化负载词的英译研究 Wenzhou Medical University 本科毕业论文(设计) 题 目: 从目的论看《红高粱家族》中文化 负载词的英译研究 学 院: 外国语 专 业: 英语 学位名称: 文学学士学位 学 号: 1106040009 姓 名: 陆倩婷 指导老师: 职称: 完成时间: 成 绩: (分数) 温州医科大学教务处 毕业设计(论文)诚信声明书 本人承诺:在今后的毕业论文(设计)撰写过程中，将遵守学校有关规定，恪守学术，在指导老师指导下独立完成研究成果。本人在论文写作中参考的其他个人或集体的研究成果，将均在文中以明确方式标明。本人依法享有和承担由此论文而产生的权利和责任。 声明人: 陆倩婷 (签字) 时间: 2014 年 12月 18日 i 目 录 Abstract .......................................................................................................................................... iii 摘要 ................................................................................................................................................ iii 1. Introduction. ........................................................................................................................... - 1 - 2. A brief introduction to Skopos Theory ................................................................................... - 1 - 2.1 The definition of “skopos” ................................................................................................ - 2 - 2.2 The rules of Skopos Theory .............................................................................................. - 2 - 2.2.1Skopos Rule.................................................................................................................. - 2 - 2.2.2Coherence Rule ............................................................................................................ - 3 - 2.2.3Fidelity Rule ................................................................................................................. - 3 - 2.3The translation strategy under Skopos Theory................................................................... - 3 - 2.3.1 Documentary translation ............................................................................................. - 4 - 2.3.2 Instrumental translation............................................................................................... - 4 - 3. Analysis of culture-loaded words ........................................................................................... - 4 - 3.1 The definition of culture-loaded words ............................................................................. - 4 - 3.2 The categories of culture-loaded words ............................................................................ - 5 - 3.2.1 Historical culture-loaded words .................................................................................. - 5 - 3.2.2 Social culture-loaded words ........................................................................................ - 6 - 3.2.3 Mythical culture-loaded words.................................................................................... - 6 - 4. The translation of culture-loaded words in Hong Gaoliang under Skopos Theory ............... - 7 - 4.1 An introduction to Hong Gaoliang.................................................................................... - 7 - 4.2 The skopos of Howard Goldblatt?s translating Hong Gaoliang ...................................... - 8 - 4.3 The analysis of the translation of culture-loaded words in Hong Gaoliang ..................... - 9 - 4.3.1 The translation of historical culture-loaded words...................................................... - 9 - 4.3.2 The translation of social culture-loaded words. ........................................................ - 10 - 4.3.3 The translation of mythical culture-loaded words......................................................- 11 - 5. Conclusion............................................................................................................................ - 12 - 6. Acknowledgements .............................................................................................................. - 16 - ii A Study on the English Translation of Culture-loaded Words in Hong Gaoliang from the Perspective of Skopos Theory Lu Qianting Abstract: In recent years, culture translation has become a focus in translation study, and culture-loaded words are core parts of culture. This paper takes Mo Yan?s novel, Hong Gaoliang, which was translated by Howard Goldblatt as a study case and tries to analyze the English translation of culture-loaded words from the perspective of Skopos Theory, aiming to prove the guidance that Skopos Theory has to the translation practice. Key words: Skopos theory; English translation; culture-loaded words; Hong Gaoliang; 从目的论看《红高粱家族》中文化负载词的英译研究 陆倩婷 摘要: 近年来，文化翻译已经成为翻译研究的焦点和热门，而文化负载词则是文化的重 要一部分。本文以目的论为视角，以葛浩文英译版莫言小说《红高粱家族》为例，对文 化负载词的英译加以研究，以期证明翻译目的论对翻译实践的指导作用。 关键字:目的论;英译;文化负载词;《红高粱家族》 iii 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 A study on the English Translation of Culture-loaded Words in Hong Gaoliang from the Perspective of Skopos Theory SFLS 2011(01) (English) Lu Qianting Tutor: Wang Li 1. Introduction With the trend of globalization and culture diversification, the translation study has become increasingly diversified, more and more experts think translation cannot be confined to the traditional mode as it used to be. Meanwhile, many translators begin to view that translation is not only the simple process of symbol conversion between textures, but also an activity related to culture. Thus culture translation has become a focus study in recent years. As the core part of the functionalism, Skopos theory has been admitted by experts and translators since it was first put forward by German scholar Hans Vermeer in 1970s. The rules and principles of Skopos Theory help translators to deal with text and also give information to help the evaluation of translation works. According to literature review, many scholars believe Skopos Theory can give guidance and strategies for translators in the process of translation, and help to improve the quality of translation works, which shows the important role of Skopos Theory in translation theory. Mo Yan, a Chinese writer，specializes in depicting northeastern local culture in china. Red Sorghum, one of Mo Yan?s most representative literature works, attracted many readers by its special local color. Especially after Mo won the Nobel Prize in Literature, his works became focus among the public. Thus the author of this paper tries to analyze the Howard Goldblatt?s English translation of culture-loaded words in Red Sorghum from the perspective of Skopos Theory. 2. A brief introduction to Skopos Theory Skopos Theory is a core part of the functionalist theory which was put forward by Germany scholars Vermeer in the 1970s. Following Vermeer, Reiss, Justa Holz-Manttari and Christine Nord are also representative scholars of Skopos theory, and have also made a lot of contribution to completing this theory. There are three main stages in Skopos Theory?s development after Vermeer carried out this theory, which are the functional category of translation criticism put forward by Katharina Reiss, translation action theory carried out by Justa Holz-Manttari, and the function principle and loyalty principal raised by Christine Nord. - 1 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 2.1 The definition of “skopos” Vermeer first defined skopos as “every translation text is produced for certain purposes and it should serve these purposes. And the translator should translate in a way that enables the translation text to fulfill its intended function in the target culture for the target reader” (33). In this way, the skopos(intention) of translation is totally from the translator, so the translator should be able to handle the social background, history, and arts from the source-text, ensuring the quality of the translation. Skopos is the Greek word for “aim” or “purpose” and was introduced into translation theory in the 1970s by Hans J.Vermeer as a technical term for the purpose of a translation and of the action of translating. (Nord 21) Apart from the term “skopos”, Vermeer also used other words like aim, purpose, intention and function, which is equivalent to skopos.(Nord 23) Nord introduced three possible types of purpose into the study of translation: "the general purpose aimed at by the translator (perhaps to earn a living); the communicative purpose aimed at by the TT in the target situation (perhaps to instruct readers) and the purpose aimed at by a particular translation strategy or procedure (perhaps to enrich the target language)"(Nord 13). This provides us the information that the various intentions from different translators may cause different intentions, thus every translator may provide different translation according to the same target-text. The definition of the Skopos implies that this theory almost applies on every action of the ranslators, which means translators themselves can handle the whole process of translation. t Although skopos is a part of functionalist theory, the difference exists between function and intention (skopos). Nord distinguished intention from function by viewing the two terms from different perspectives. Intention is sender-oriented, while function is receiver-oriented. (Nord 28) As translation is usually views as a task, translators are people who control the process of translation because they want the source text to be translated. In this way, the difference intention of author may generate different works. 2.2 Rules of Skopos Theory There are three main rules within the skopos theory, namely, skopos rule, coherence rule, and fidelity rule. 2.2.1Skopos Rule According to the skopos theory (the theory that applies the notion of skopos to translation), the prime principle determining any translation process is the purpose(skopos) of the overall translation action. This fits in with intentionality being part of the very definition of any action.”(Nord 27) Nord pointed out that the skopos rule actually means “to translate, interpret, speak or write in a manner that makes a translated text function precisely in the situation where it is applied under the wish of the people who use it.”(29). This implies that translators play a dominate role in the process of translation, and they can even decide the - 2 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 texts according to their wishes. As it mentioned before, translation is an assignment, and the process of the translation is initiated by the translators. 2.2.2Coherence Rule Coherence rule means the translation must conform to the standard of “intratextual coherence”(Jia 53), which means the translation works should be readable and be accepted by the target readers. The coherence rule and fidelity rule are subordinate rules under the skopos rule, which are set to further explain the Skopos Theory. The coherence rule and fidelity rule also explain the relations between source text and target text. Although the Skopos theory determines the translators can translate the texts according to their intention, but if the target texts are totally controlled by the translators, the source texts cannot be truly transmitted. Therefore, coherence rule was raised, which specifies that a translation should be acceptable in a sense that it is coherent with the receivers? situation. (Reiss &Vermeer 113). Also, coherence rule asks the target text to be coherent intratextually, which means the text translated should be understandable by the readers. 2.2.3Fidelity Rule The fidelity rule is the third part of Skopos Theory, which is also skopo rule?s supplementary. Nord mentioned “Since a translation is an offer of information about a preceding offer of information, it is expected to bear some kind of relationship with the corresponding source text. Vermeer calls this relationship „intertextual coherence? or „fidelity?, which is referred to as „fidelity rule?. ” (32). Intertextual coherence is subordinate to intratextual coherence, so fidelity rule is also subordinate to coherence rule. Because the target text is largely decided by translator, fidelity rule requires translation to be honest to the target text. Among the three rule, the skopos rule is the top-ranking,implying that the translation is decided by the translators? skopos. Reiss and Vermeer then pointed out “the end justifies the means” (101). This means that each texts provided by the translators have a certain purpose or intension and its purposed should be served by the translators. Because of this, there is no right or wrong, good or bad to evaluate a translator?s work, only the translation skopos decides the work. The Skopos Theory makes up the weaknesses from traditional equivalence theories. In Skopos theory, there is no definite right or wrong of the translation work, the different strategies of different translators are taken into account and the source text is the main factor. 2.3The translation strategy under Skopos Theory Based upon the three rules of the Skopos Theory, Nord put forward two strategies of translation under “Skopos”. (Jia 48) Two translation strategies provide other two ways for translators. - 3 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 2.3.1 Documentary translation Nord mentioned that “documentary translation” means that “it produces a communicative interaction in which a source-culture sender communicates with a source-culture audience.” (49). It means if translators use documentary translation as their measures of translation, they will emphasize the culture of source language or source text. According to the translation of different aspects of the source text, Nord then classified documentary translation into four parts, which are “interlineal translation”, “literal translation”, “philological translation” and “exoticizing translation”. (48) 2.3.2 Instrumental translation Instrumental translation values “a new communicative interaction between the source-text and a target-culture audience.”(Nord 51) This points out that instrumental translation emphasizes on the culture of target culture. In instrumental translation, the communicative language and its environment has transferred into what the target language has, the characteristics of the source language are only the references for translators, the importance is the information that transmitted according to the target readers. According to the various textual functions, Nord divided the “instrumental translation” into three parts, which are “equifunctional translation”, “heterofunctional translation” and “homologous translation”. (Nord 51) 3. Analysis of Culture-loaded Words Since language is the carrier of culture, the translation of language is in fact the translation of culture. In recent years, the study of translation has shifted its focus on culture translation, and the relationship among culture, language and translation is actually connected with each other. The process of translation contains interpretation and understanding of one culture, however, culture difference does become the barrier in translation. Culture-loaded words are one of the representative forms which can fully display its culture. 3.1 The definition of Culture-loaded words The conception of culture was defined at first by E.B.Tylor, who pointed out that culture is a completed whole which includes knowledge, belief, arts, morals and other capabilities and habits acquired by members of society. (121) So culture is the combination of several factors, it both carries invisible things, and can also be shown in materials. Because of the relation between culture and language, some expressions in language are ingrained by culture. According to a Spanish translator, J.F. Aixela, “some items appeared in the source text do not have equivalent items in the target readers? cultural system or these items have different textual status with those in the target readers? system, thus leading to a translation difficulty while transferring the meaning and function of the source text to target text.”, he defined those items as “culture-specific items”. (1996). This states that “culture-specific items” are often those which cannot find equivalences during translation because of the specific culture they - 4 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 have carried, which includes history, geography, local environment and so on. So the translation of “culture-specific items is the main task to be overcame in translation.” Mona Baker mentions “The source-language word may express a concept which is totally unknown in the target language. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as „culture-specific.?”(21) Nida pointed out that culture-loaded words refer to “the terms that occur in the cultures or that are readily recognized as applying particularly to one culture and that can only find familiarities but not identities in another culture”(12) This implies that culture-loaded words cannot find the equivalent words during translation, which also increases the difficulties of translation. While translating the Chinese to English, the communication between Chinese culture and English culture will happen, and how to deal with culture also becomes a problem. American scholar Eugene Nida mentioned about culture translation “the fundamental problems in translation do not lie in language discrepancy, but in cultural discrepancy.”(1996). The culture translation does not only include language translation, but also contains the translation of one culture?s history, religion, arts, politic and so on. 3.2 The categories of Culture-loaded words The categories of culture-loaded words vary from different standards and different understanding from scholars. American scholar Eugene Nida classified culture-loaded words into five categories, namely, ecological culture-loaded words, linguistic culture-loaded words, social culture-loaded words, material culture-loaded words, and religious culture-loaded words. (Nida 47) Elisa Armellino classified culture-bound words into three different categories in her book Translating Culture-bound Elements in Subtitling-An Example of Interlinguistic Analysis: which are historical culture-loaded words, social culture-loaded words and mythical culture-loaded words. This paper tries to introduce the culture-loaded words defined by Elisa. 3.2.1 Historical culture-loaded words Historical culture-loaded words mainly refer to history including facts and people of a nation's history, and objects and situations which can be clearly linked to a certain historical period. (Elisa 34) Many historical events usually consist of certain social backgrounds, so they are very likely to carry some elements which other cultural backgrounds do not have. For example, in Qing Dynasty, nine levels in total were used to describe the officials at that time. The first class has a title named “提督”, it is translated as “provincial commander-in-chief” or “commander- in-chief”. Only by understanding the function and status of “提督” can translators make the accurate translation. Meanwhile, in ancient Chinese history, we can always hear some words like “格格” or “阿哥” to describe royalty members. “格格” is usually - 5 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 translated into “princess”. In Chinese history, Manchu people used this word to describe girls. From Late-Jin Dynasty, the nobility?s daughters were titled “格格”. “阿哥” is mainly used in Qing Dynasty which represented the son of the Emperor. For instance, the literal meaning of “八阿哥” is “the eighth son of the emperor”, while commonly it is widely acknowledged that “八阿哥” indicates “爱新觉罗?胤禩”, so most often it is translated into “Yinchen”, which is also acceptable among the readers. History carries many characteristics of one culture, and history difference brings culture differences. Because of China?s long history, there are still many historical culture-loaded words cannot be fully translated into other languages. 3.2.2 Social culture-loaded words Social culture-loaded words cover elements related with society where a further distinction is needed, like customs and usages, institutions and social structure, lifestyle and habits, beliefs and morality. (Elisa 49) Words related with festivals, politics and history are always social culture-loaded words. For example, like almost every Chinese know what is “糖 葫芦”, but there is no such thing in western countries. If it is translated into “sweet cucurbit”, then it is totally wrong, because “糖葫芦” is made of hawthorn rather than cucurbit. Often the “糖葫芦” is translated as “sugarcoated haws on a stick”, so the people in English speaking countries may have an idea about what it is. Diverse food culture also causes barriers in English translation. Some dish like “夫妻肺片” will always confuse some translators. The dish is named in this way because there is a story related with a couple about this dish. Correct translation occurs when a translator has the knowledge of the allusion. Other names of dishes like “童子鸡” “宫保鸡丁” “汤圆”also face with difficulties in English translation, they cannot be translated directly according to the literal meaning. Some of English translation of Chinese special food is still under discussion. 3.2.3 Mythical culture-loaded words Mythical culture-loaded words are some words related with myth, tradition and religion.(Elisa 50)Because of culture difference, different countries must have different myths and stories which are full of native color. The process of translating those myths and stories is arduous. For example, while translating the stories related with Tibetan Buddhism; the religion difference becomes a problem. Most people in western countries believe in Christianity, while people in eastern countries tend to believe in Buddhism, and Hinduism. For example, most Chinese can understand the words “转世活佛”, however, it is very hard to find an equivalence in western culture. Because “转世活佛” is a word related with Tibetan culture, which is also a main part in tibetology, the most authentic translation will be Hutukta. But, if the word is translated in this way, large amount of westerners will be puzzled because few of them have notion of tibetology. In order to avoid the barrier during culture translation, a better translation shall be “incarnated lama”. The westerners have the concept of “incarnated angels”, so it will - 6 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 not be too hard for them to understand it. 4. The translation of Culture-loaded Words in Hong Gaoliang under Skopos Theory 4.1 An introduction to Hong Gaoliang Honggaoliang jiazu presents us with an exquisite example of how memory invokes and represents the past.(G.Andrew Stuckey 131). This novel also becomes the representative work of “searching for roots”. The novel has been translated into more than fifteen languages, which is famous both domestically and internationally. The culture translation of this novel is also an important part when the novel is transmitted worldwide. Hong Gaoliang?s author, Guan Moye, is known for his pen name, Mo Yan. He was born in 1955 in Gaomi, a village in Shandong Province. Mo Yan?s hometown Gaomi gives him a lot of writing inspirations; this place also becomes many origins of stories in his novels. During Mo Yan?s teenage years, the Cultural Revolution broke out, so he had to drop out. He spent ten years on the countryside doing farm work. His passion for reading books was not reduced by the limitation of the literature books because of Culture Revolution. In 1976, Mo Yan joined army, and he made use of every resource in the library by reading 1000 books. At the beginning of 1985, his first novel The Transparent Carrot was published. In 1987, Hong Gaoliang was published. The publication of Hong Gaoliang made waves in Chinese literature world. In 1992, Mo Yan?s English translation collection of short stories Explosions and other stories which is translated by Janice Wickeri and Duncan Hewitt was published in America. One year later, Howard Goldblatt?s English translation work Hong Gaoliang was also came into the American literature circle. Hong Gaoliang was selected as the “1993 Best Novel” by World Literature Today. The novel consists of five parts, namely, Hong Gaoliang, Gaoliang Wine, Gog Ways, Gaoliang Funeral and Strange Death. The story was told in first narration. The narrator told story about his grandparents fought against the Japanese during the anti-Japanese War. The story begins with the two main character, grandpa, Yu Zhan?ao and grandma, Dai Fenglian. Then it mainly describes the stories happened during anti-Japanese times. Several characters with distinct personalities constitute the ups and downs of the whole story. All the characters in story have their evil and good sides, so all the characters are vivid. Mo Yan used bold and eccentric description to build up every unique and distinct character, which raised empathy among the readership. The story contains both the doubts towards the feudal values and deep understands to people under feudal moral principles. The whole story is full of local color, and the tone of narration is vivid. The author used humorous and exaggerating writing style to describe the story happened during that war time. Some of the descriptions seem relaxing, but is filled with cruelty and brutality. Hong Gaoliang is Mo Yan?s most representative novel, and it wins the world fame after translation into different languages. In 2012, Mo Yan was awarded the Nobel Prize in - 7 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 Literature; he was the only Chinese writer who was awarded this prize. After the winning of Nobel Prize, Mo Yan?s works have become increasingly popular, especially his English translation works, which open a door for the international world to get to know the different aspect of Chinese history and culture. 4.2 The Skopos of Howard Goldblatt?s translating Hong Gaoliang Hong Gaoliang was translated by American scholar and translator Howard Goldblatt. Howard Goldblatt was born in 1939, in Long Beach, America. In 1960s, Howard learned Chinese in Taiwan. At first, he translated Xiao Hong?s work, which gained a lot of publicity and popularity. Then in the next thirty years, he translated more than forty Chinese literature works, including the works of Wang Shuo, Su Tong, and Jia Pingwa and so on. His great translation of Chinese literature brought him awards and reputation. The translation works of Howard Goldblatt elevated the status of Chinese literature worldwide, especially the translation of Xiao Hong?s five novels, helping publicize the international fame of this Chinese writer. The intention of Howard Goldblatt translating Mo Yan has two parts. The first is out of interest. After reading the Mo Yan?s Chinese novels, Howard showed a strong interest in conveying those excellent works into America. Goldblatt discovered Mo Yan in 1988, when a friend sent him a copy of a Hong Kong literary magazine that contained The Garlic Ballads. (Aimee 3) While considering the public recognition and American readers? mainly interest, some contents of Hong Gaoliang is rewritten by Howard. Howard also viewed translation as a way of cultural communication. “How translators go about the task, how we deal with the intricacies of cross cultural communication— these are the things at issue.” (Levitt 4) So Howard valued to keep the original culture in the source text and also tried his best to let his translation cater to the Americans. Hong Gaoliang is one of the Chinese novels translated by Howard Goldblatt. The well-translation of this novel helps a lot in its promotion in America. Even Mo Yan himself, positively admitted Howard Goldblatt?s contribution in helping open American market for his novels to communicate with the other. Mo Yan mentioned this in his speech in the University of Colorado “My novels may be translated by others and also published in America, however, they cannot be perfectly-translated by him (Howard Goldblatt). I believe his translation added glory to my novels.” It is wildly recognized that the Howard Goldblatt?s translation of Hong Gaoliang is a success worldwide. Howard Goldblatt has never stopped studying Chinese literature and translation. The Writing Life, which was published in Washington Post in 2002, systematically showed his perspectives towards translation. His opinions and principles towards translation can be concluded as follows: translation is loyalty, rewriting, and cultural communication. Meanwhile, translation is made up with creativity. Howard Goldblatt said in The Writing Life “The - 8 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 satisfaction of knowing I?ve faithfully served two constituencies keeps me happily turning Chinese prose into readable, accessible and—yes—even marketable English books”. So actually the aims of readable, accessible and marketable are implemented under the faithful rule. The setting aims like readable, accessible and marketable imply the skopos of Howard Glodblatt?s translation is mainly towards the target readers. So he probably rewrote or even created some parts of the contents in Hong Gaoliang. While because of those recreation and rewriting is based on the Mo Yan?s work, Howard Goldblatt still abided by the fidelity rule under skopos theory. Mo Yan once mentioned from 1988, when Howard Goldblatt contacted Mo Yan and decided to translate Mo Yan?s novels, they kept in touch with each other since then. Howard respected the origin works during English translaton. Howard Goldblatt stated in The Writing Life that “Ninety percent of all translation is inadequate and once threshed into a different language, a piece of writing is transformed, changed…Translation is inadequate, but it?s all we have if good writing is to have its life extended, spatially and temporally.” The intention of his translation is to let the readers understand the whole story; he believes translation is a service mainly towards the readers. Meanwhile, the absolute fidelity to the source text may cause translation work awkward. So the translation of Howard Goldblatt is mainly reader-oriented. 4.3 The analysis of the translation of culture-loaded Words in Hong Gaoliang Since Hong Gaoliang describes the story happened in Gao Mi County during the time of anti-Japanese, there are many expressions full of local color and style. The translation of those Culture-loaded words is an important part in English translation of this novel. 4.3.1 The translation of historical culture-loaded words Ecological culture-loaded words contain something related with nature. Here are some examples in Hong Gaoliang showing how Howard Goldblatt deals with those culture-loaded words. (1).五乱子诡秘地说:“„„你会在这里效越王勾践，卧薪尝胆，争取同情和支持。” (Mo 238) Five Trouble, leaning over secretly, said „„„If you can sleep on fire wood and drink gall, like the famous king of Yue, you will gain everyone?s sympathy and respect.? (Goldblatt 298) Goldblatt used documentary translation to deal with this Chinese historical allusion. “卧 薪尝胆” is a historical story familiar to Chinese people, while western readers must feel confused about it. “卧薪尝胆” describes a king of Yue endured hardships and difficulties to strengthen his resolution to revive the State of Yue. The form of this documentary translation is literal translation which keeps the literal meaning of the culture-loaded words. Furthermore, although Goldblatt didn't try to use instrumental translation, he still restored the history and conveyed the basic meaning to the western readers. - 9 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 (2). 加入公社, 不要再单干, 不要闹独立, 常言道:‘螃蟹过河随大流’，‘识时务者 为俊杰’，不要顽固不化，不要充当挡路的石头，不要充硬汉子，比你本事大的人 成千上万，都被我们修理的服服帖帖。(Mo 25) Join the commune and stop working for yourself, end your quest for independence. Stop being headstrong, an obstructionist. We have brought over thousands of people with more talent than you. (Goldblatt 25) In this example, the proverb“识时务者为俊杰”is from Records of Three Kingdoms. The original sentence is used to describe Zhuge Liang as “儒生俗士，识时务者，在乎俊杰。此 间自有卧龙、凤雏。”This proverb means the wise that suit the actions to times and follow the trend. While if documentary translation is used here, it is quite difficult for western readers to understand. Though Goldblatt could use footnote to further explain the sentence meaning, the burden increased when readers are enjoying this part. In order to maintain readers? smooth process of reading, Goldblatt hardly used footnote in translation. In this paragraph, he omitted those culture-loaded words without distorting the meaning of the source text for helping target readers to understand the passage. From this aspect, instrumental translation is implemented here. 4.3.2 The translation of social culture-loaded words. Social culture-loaded words cove the words related with social practices. Here one example from Hong Gaoliang. ). 他问:“你没送他点见面礼,”(Mo 13) (1 “You didn?t give him anything to grease the skids?”(Goldblatt 20). In Chinese social life, most often “见面礼” does not only serves as an ordinary gift when two people first meet with each other, but also contains some social meanings. The similar meaning can be found in English idiom “grease the skids”, so Goldblatt used this phrase to explain the meaning. In this sentence, Goldblatt used instrumental translation. If literal translation was made by Goldblatt, readers may not get the social meaning of that word. So this translation strategy helps western readers to understand this social culture-loaded word. (2).外曾祖父正在化银子铸长命百岁锁。(Mo 167) “Great-Granddad was melting silver into longevity ingots.” (Goldblatt172) In Chinese culture, “长命百岁锁” is an accessory implies to protect the new-born babies. This certain objects can be found in reality, however, because of cultural difference there is no such thing in western culture. If “锁” was translated as “lock”, then the original social meaning was spoilt, and western readers must be hard to imagine that object. Goldblatt translated “长命百岁锁” as “longevity ingots” according to the shape of the object, and “longevity” also shows the social meaning of that object. Other material culture-loaded words in Hong Gaoliang like “八仙桌” was translated into “tables”; “凉粉”was translated as “noodles” which all avoid the misunderstandings might cause because of culture difference. - 10 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 Those social culture-loaded words are translated through instrumental translation, which shows the skopos of translating those words is to help target readers to understand the culture from the source language. (3). 问他家里还有什么人, 更是把头摇得如货郎鼓似的。就这样,收留了这小子,算 是认了个干儿子。(Mo 11) “When he was asked about his family, he shook his head like one of those stick-and-ball toys. So I let him stay.” (Goldblatt 13) “货郎鼓” is a traditional Chinese toy for children in northern society. Literally, “货 郎”refers to a person who sales goods or street vendor. While actually “货郎鼓” has no relation with person, it implies the sound of the toy. Goldblatt used instrumental translation and translated “货郎鼓”into “stick-and-ball toys”, which provided sensory impact on readers. (4).余家的名声如繁华缀锦，火上浇油，但爷爷忘记了日满则仄，月满则亏，器满 招覆，盛极必衰的朴素辩证法。(Mo 250) “The glory of Yu family spread like an oil fire. But Granddad forgot the simple slang that a bright sun darkens, a full moon wanes, a full cup overflows, and decay follows prosperity.” (Goldblatt 312) “日满则仄，月满则亏”is a common sense to human beings, while the Chinese expression increases the difficulty of translation. It is obvious that Goldblatt used instrumental translation in this sentence. It not only helps readers to understand the phrases, but also makes the text fluent. Goldblatt didn?t translate the sentence word by word, and he focused on the degree of originality of the source language. 4.3.3The translation of mythical culture-loaded words (1). 北斗勺子星——北斗主死;南斗簸箕星——南斗司生。(Mo 5) “The ladle of Ursa Major (signifying death); the basket of Sagittarius (representing life).” (Howard Goldblatt 3) “北斗星”is “the Plough ”or “the Urse Major”, and “南斗星” is “Sagittarius star”. While in some Chinese local folk sayings, the “勺子星”also refers to “the Plough”, and “簸箕星” refers to “Sagittarius star”. Meanwhile, in Chinese Taoism, there is a belief called “北斗主死， 南斗主生”, which means people who believe in “Sagittarius star” can prolong their lives, so “Sagittarius star” symbolizes life. Howard Goldblatt translated the “北斗星” and “南斗星”, he also added notes in translation to explain this allusion to the target readers. It implies that Goldblatt used documentary translation. The usage of notes suggests the form of documentary translation is philological translation. Though Goldblatt focused on source-culture because of the characteristics of myth, the philological translation implies the translator wanted to help the target readers to understand the culture of source text. (2).奶奶在唢呐声中停住哭，像聆听天籁一般，听着这似乎从天国传来的音乐。(Mo 41) - 11 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 “Grandma?s stopped crying at the sound of the woodwind, as though commanded from on high.”(Goldblatt 89) The author compared the sound of so-na as the sound from the heaven. Because of the religious difference, western people view heaven as a beautiful haven, which is controversy to the sad and desperate emotion which the original text tries to express. So according to this difference, Goldblatt translated the “从天国传来” as “from the high” rather than “ from the heaven”, meanwhile, the translator omitted the part “that the sound of music is like the sounds of nature”. The translation deleted something which is not accord with the religious belief of the target readers and the translator did some rewritings to avoid communication difficulties. Similar examples can be found in Hong Gaoliang. (3).后来我们还与一支踩高跷的队伍相遇, 他们扮演这唐僧取经的故事, 扮孙猴子、 猪八戒的都是村子里的熟人。(Mo 7) “After that we encountered a group of men on stilts who were reenacting the travels of the Tang monk Tripitaka on his way to fetch Buddhist scriptures. His disciples, Monkey and Pigsy, were both villagers I knew.” (Goldblatt 8) The mythical story “唐僧取经” is from Journey to the West, which is one of great classic novels. When dealing with the stories like this full of characteristic Chinese culture, Goldblatt still did not choose to use footnote to explain while translated “唐僧取经” in details as “the Tang monk Tripitaka on his way to fetch Buddhist scriptures”, indicating the help for target readers? comprehension, and also increases their interest to Chinese traditional stories. (4). “我从小就看‘三国’、‘水浒’，揣摸出一个道理，折腾来折腾去，分久必合， 合久必分，天下归总还要落在一个皇帝手里。” (Mo 269) “ I?ve got it all figured out: struggles come and go, long periods of division precede unity and long periods of unity precede division, but the nation always falls into the hands of an emperor.” (Goldblatt 283) “三国” and “水浒” are also parts of Chinese classic novels which are widely known by Chinese. Many stories and myths in these two novels have already deeply rooted in Chinese culture and social life. While to most of the western readers, they know little about these two novels and it will complicate the structure of the passage if footnotes are added. Omission is used in translation. By taking instrumental translation, target readers can understand the text, and the original meaning is not spoiled. 5. Conclusion. With the tide of globalization, cultural translation has become a trend and it is increasingly important in translation studies. Various kinds of cultural communication bring to culture diversity in different countries. While during translation, some words which are ingrained with specific culture can become an obstacle in cultural translation. In 2012, when Mo Yan was awarded the Nobel Prize in literature, he became the heated focus in literature - 12 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 world; meanwhile, Chinese literature was more focused than before. As the representative work of Mo Yan, Hong Gaoliang is the first novel translated into the English world. This novel not only brought Chinese culture to the world, but also conveyed many local color cultures to international world. According to the analysis above, the purpose of Goldblatt?s translating Hong Gaoliang is to let western readers understand the special local Chinese culture. So the translation of Howard Goldblatt is mainly reader-oriented .And in accordance with the Skopos Theory, the translating skopos determines the process of translating , thus the main translating strategy he should adopt is instrumental translation. During translation, Goldblatt tried several ways to attain the perfect effect of translation. He also rewrote some parts of the novel, and omitted some descriptions related with animals or politics. All these strategies show the main purpose of Goldblatt?s translation is to allow the western readers understand the Chinese local culture in this story. Then it can be concluded that Skopos Theory do provide some supports and guidance during the translation practice. Furthermore, the appropriate application of Skopos theory on translation can help translators to improve the quality of their works. The advantages of Skopos theory do outweigh those of traditional translation theories. However, this thesis still has a lot to be improved. The analysis of Skopos theory in this paper is not deep enough because of author?s limited academic level. Besides, the number of the examples about culture-loaded words in Hong Gaoliang is not fully provided. There is much study left to do in this field in the future. - 13 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 Works cited Armellino, Elisa. “Translating Culture-bound Elements in Subtitling: An Example of Interlinguistic Analysis: a Scene from „Scent of a Woman?.” Translation Journal 4(2008): 34-50. Aixelá Javier Franco. Culture-specific Items in Translation.Clevendon: Multulingual Matters,1996. Baker, Mona. Routledge Encyclopedia of Translation Studies. Shanghai: Shanghai Foreign Language Education Press, 2004. Goldblatt, Howard. “The Writing Life.” Washington Post 4.28(2002):12-33. ---Red Sorghum. Random House,1987. Huo Lirong. “Translation of Culture-loaded words.” Overseas English 10(2011):206-208. 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Northeast University of Finance,2013. 贾文波，《应用翻译功能理论》，北京:中国对外翻译出版公司，2004年。 [Jia Wenbo. Pragmatic Translation Theory. Beijing: China Translation and Publishing Corporation. 2004.] 王文强，“对红高粱家族中方言词汇英译的思考”，《外国语言文学》，2013年第4期，第 275-278页。 [Wang Wenqiang. “Thoughts on the English Translation of Dialect Words in Hong Gaoliang Jiazu.” Foreign Language and Literature.4(2013):275-278.] 文军等，“葛浩文翻译观探究”，《外语教学》，2007年第6期第28卷，第78-80页。 [Wen Jun et al. “A Probe into Howard Goldblatt?s Translation Thoughts.” Foreign Language Education.28.6(2007):78-80.] - 14 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 余梅，“论葛浩文的翻译思想”，硕士论文，天津理工大学，2011年。 [Yu Mei. “Studies on Howard Goldblatt?s Translation.” MA thesis. Tianjin University of Technology, 2011.] 赵羲，“红高粱英译本习语翻译方法研究”，《海外英语》，2014年第4期，第144-146页。 [Zhao Xi. “Studies on English Translation of Idioms in Hong Gaoliang.” Overseas English.4(2014):144-146.] 周冰洁，“目的论视角下红高粱家族英译本中文化负载词的研究”，硕士论文，河北科技 大学，2013年。 [Zhou Binjie. “A Study on the Translation of the Culture-loaded Words in the English Version of Red Sorghum from the Perspective of Skopos Theory.”MA thesis. Hebei University of Science and Technology,2013. ] - 15 - 温州医科大学本科毕业论文 从目的论看《红高粱家族》中文化负载词的英译研究 6. Acknowledgements I would like to extend my gratitude here to thank for all those who have helped me to complete this thesis. First, my heartfelt appreciation to my respectable supervisor, without her guidance and advice, I would have not accomplished this paper. Every time when I come across difficulties, she will put aside her busy work to help me. There is no doubt that without her sincere and consistent help this paper cannot be finished. Secondly, I would like to thank all the teachers in Foreign Language School in Wenzhou Medical University. It is their inspiring lectures that enriched my knowledge and broaden my horizon. At last, I want to express my gratitude to all the excellent scholars in translation studies, without the materials they have provided, this paper is impossible. - 16 -