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严歌苓被视为“在北美地区最有前途和影响新移民作家之一”[陈瑞林，2003:35]，从她移民到美国后，他一直保持多产，无论是在中国和英国，他的作品都赢得了巨大的成功。他写的中文小说，比如“吕凡严氏”（“陆犯焉识”），“小一跺他”（“小姨多鹤”）和“迪玖革卦赋”（“第九个寡妇”）所有收到国内外的文学奖项。Yan Geling is deemed as “one of the most promising and influencing newimmigrant writers in North America” [陈瑞林,2003:35] and has remained prolificever since her emigration to the United States, garnering great success writing both inChinese and English. Novels written in Chinese like “Lu Fan Yan Shi”(《陆犯焉识》)、“Xiao Yi Duo He”(《小姨多鹤》) and “Di Jiu Ge Gua Fu”(《第九个寡妇》)all received literary awards from both home and abroad aside from being wooed by the commonreaders, and her first English-language novel The Banquet Bug or The uninvited wasalso conferred the Gold Award of Novel by the Chinese American Library Association, and selected as a “Book before bedtime” by the BBC.The novel Fusang is arguably her most representative work, honored the UnitedDaily News Best Novel award and was recognized as “the best award-winning novelpenned by Yan Geling” [王德威,1996:vi-vii]. Set in 20thcentury San Francisco andcentering round the love tangle between Fusang the Chinese prostitute, and Chris theyoung white boy, the book unearthed the age-old racial and cultural conflict betweenthe East and West. Its translation and introduction into the American book market in2001 by Hyperion was also met by great fervor from the American common readers,and finally brought itself to The Los Angles Times bestseller list, which was anunusual success for the contemporary sinophone literature.Presently, the status of immigrant literature is relatively marginalized, andconfined only to the comparative literature studies. Research on the translation ofimmigrant literature is even more lacking. Compared with the contemporary literaturefrom Chinese mainland, the translation of Chinese immigrant literature enjoys its owndistinguishing features and advantages, which can provide ample food for thought sofar as the “going-out” of Chinese contemporary literature is concerned.Unlike many translated Chinese contemporary literature, The Lost Daughter ofHappiness, namely the English version of Fusang, is literally littered with deletionsand simplifications, and it is this blatant lack of fidelity which has prompted this study.This thesis sets out to answer the following questions: 1. What sort of deletions andsimplifications are present in the translation? 2. What are the reasons behind thesedeletions and simplifications? 3. How these deletions and simplifications affect thereception of Fusang? 4. What lesson can we draw from this case for the “going-out”of Chinese contemporary literature?To answer these questions eloquently, four chapters are laid out in this study.The first chapter is devoted to the literature review of existing research on thetranslation of Fusang and cultural filtering respectively, and the second anintroduction of the writer, the book, as well as translation process. The following twochapters are where most of the academic effort lies. In the third chapter, the concept“cultural filtering” is borrowed from comparative literature studies. And inaccordance with the perusal of both the original text and the translated text, threetypes of cultural filtering are differentiated, namely the filtering in language style,filtering in traditional culture and filtering in ideology. The last chapter of the researchis the examination of how the “filtered” text is received by the American publ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。