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Chapter 1 Introduction

1.1 Research Background

During the past five decades，development in the disciplines of modemlinguistics, psychology，communication theory，etc. has enriched the study ontranslation equivalence, enabling Translation Studies to broaden its area of researchand to offer new approaches to the inquiry into correspondence between cultural andlinguistic systems, (see Catford 1965; Nida 2004; Nida & Taber 2004; Baker 2000)However, previous studies on translation equivalence merely gave a passing referenceto style, and rarely went deep into the stylistically non-equivalent phenomenon arisingin the process of translation. In particular, stylistic non-equivalence in fictiontranslation is badly lacking in comprehensive and in-depth explorations, which leavesa lot of room for further research.and improvement.So far, only Professor Shen Dan and her followers have tried systematicinvestigations into stylistically non-equivalent problems in fiction translation, whichare subsumed under the heading of "deceptive equivalence".(申丹，1995)Groundbreaking as Shen Dan's contribution is，her proposed scope of "deceptiveequivalence" is too narrow and restricted. Under this heading, attention focusesexclusively on covert stylistic features, or fiction-bound stylistic features, such as theimplicit irony, which usually go unnoticed in general discourse but are intrinsic tofiction in terms of thematic or structural values. The overt stylistic features, on theother hand，such as the marked phonetic devices or rhythmic patterns that fictionshares from the poetic style，are purposely neglected. Since overt stylistic features.also frequently result in stylistic non-equivalence for the fictional translator to address,they should not be excluded from the general discussion of stylistic non-equivalencein fiction translation.As a supplement to Shen Dan's study, this thesis strives to conduct acomprehensive investigation into stylistic non-equivalence in fiction translation,featuring both the width and the depth. On the one hand，the width is reflected in itsextensive discussion concerning both overt and covert non-equivalent stylisticfeatures. On the other hand, the depth is resultant from the exploration of theintegrated workings of the stylistic norms, literary conventions，contexts, cultures，andreaders' expectations in the SL and TL systems that underlie stylistic non-equivalencein fiction translation.To handle the target problem with theoretical precision and penetration, EugeneNida's principle of functional equivalence, Shen Dan's and Leech's literary stylisticapproaches are drawn with proper adjustment as the theoretical framework for thethesis. Lin Yutang's novel The Vermilion Gale and its two Chinese translations byPi-yiin Sung and by Lao Long & Hei Ma respectively, are taken for comparative casestudies to give tangible illustrations about major stylistically non-equivalent featuresand provide insights into effective strategies to compensate for stylisticnon-equivalence in fiction translation.

1.2 Rationale and Significance of the Proposed Study

(1) Stylistic “non-equivalence,，is one of the biggest obstacles in fictiontranslation, due to the translator's inadequate stylistic discernment, or theinevitable disparities in language constructions, literary norms，cultures, thereaders* expectations, etc. between the source language (SL)本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。