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anslated by George Kin Leung (梁杜乾）in 1926; Our Story of Ah Q,translated by Wang Jizhen (王际真）inl935; The True Story^ of Ah Q, translated byYang Xianyi (杨宪益）and his wife Gladys Yang (戴乃迭）in 1952; and Ah Q—theReal Stojy, translated by William A. Lyell and included in Diary of a Mad Man andOther Stories in 1990.During decades great efforts have been made to conduct researches to probe intothe translations of Ah Q Zheng Zhuan from different perspectives, mostly from thecultural perspective. There are a lot of culture-loaded words and phrases in this work,which are difficult or sometimes impossible for the translators to find the equivalencein English. Therefore, attention have been paid to this phenomenon of culturalvacancy and series of researches have been conducted to discuss the translationstrategies. Recently some scholars has begun to employ skopostheory to discuss thetranslations of this work. For instance, Deng Xianyi (2008) discussed Lyell'stranslation from the perspective of functionalist translation theory, speaking highly ofLyell's translation as he had，after thorough consideration of the target readers of thetranslation, successfully translated this work for the American readers. However,attention are rarely paid to the reproduction of the thematic significance and aestheticeffects of this work. And this is what is focused in the present thesis.

 

1.3 Concepts of the Basic Terms in Literary Stylistics
The basic criterion of translation should be faithfulness (信)—that is, the translationshould be faithful to the original. As for faithfulness, the style of language is the mostcommonly neglected aspect. By saying style of language, the author does not meanthat you should just translate a poem into a poem and a prose into a prose, but thetheory of literary stylistics should be employed to see if the translation has faithfullyreproduced the thematic significance and aesthetic effects expressed in the original.Therefore, first and foremost the definition of style, stylistics and literary stylisticsshould be made clear.research purposes of the stylisticians，it is hard to definitely say what stylistics is. Inaddition, this definition does not tell us by what means and for what purpose that thestudy of style is carried out. According to Baldick (2000: 215), stylistics is “a branchof modem linguistics devoted to the detailed analysis of literary style or of thelinguistic choices made by the speakers and writers in non-literary contexts". Baldickclassifies stylistics into the category of linguistics, and points out the research objectof stylistics is literary style or linguistic choices of the discourses. Therefore, stylisticscan be recognized as a study of style based on the methodology of modem linguistics.Stylistics is, to a large extent, dependent on modem linguistics, so the development ofmodem linguistics will always result in the progress of stylistics.Literary stylistics, undoubtedly, is also stylistics, so it is also the linguistic studyof style. But as Leech and Short (2001:13) put it, it “has implicitly or explicitly, thegoal of explaining the relation between language and artistic function". Literarystylistics relates the critic's concern of critical evaluation and interpretation with thelinguist's concern of linguistic description, so it can be considered as a bridgeconnecting linguistics and literary criticism. The basic methodology of literarystylistics can be best interpreted by Sp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。