本文是一篇英语论文，在这个翻译项目的过程中，作者搜索了东非一些国家的当地风俗、政治、文化、宗教等方面。除了查阅这些资料外，作者还分析了专有名词的翻译、非洲文化负载词和小说引文的文学性。
Chapter 1 Introduction
1.1 Research Background
In 2019,the major project entitled“History of African Literature in English”,wasgranted by the National Social Sciences Foundation of China.This project examines theemergence,development and flourishing of African literature in English,focuses on theinternal causes,external factors and the literary forms that follow the collision of itsindigenous and foreign cultures and explores relevant issues in South,West,Central and EastAfrica.
The author has participated in the translation of the monograph East African Writing inEnglish focusing on Chapter Two.The total number of words in the original text is 11608words in English.Chapter Two studies major novels written by East African writers toillustrate the relationship between the works and society,such as Mwangi Ruheni’s TheMinster's Daugher in 1970s,Charles Mangua’s Son of Woman,Meja Mwangi’s Carcase forHounds,Nuruddin Farah’s Sweet and Sour Milk,etc.In short,it covers a wide range of topics,including history,geography,religion,politics and culture.
英语论文怎么写
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1.2 Literature Review
With the development of China-Africa cooperation relations,translation is indispensablefor exchanges.Meanwhile,good translators can convey the unique African culture orideology to the public.As to translation,China is a major country,through which Africanliterature can be presented to Chinese readers,and we should pay attention to the role oftranslation in the cultural harmonization of communication between China and Africa(王宁2012).The unique study of African translation can expand the connotation and theoreticalscope of translation studies,which is of great significant in innovative studies.Therefore itmust be highly valued by Chinese scholars in translation.The study of the culturalbackground of Africa is of great value and is an important element in enhancing exchangesbetween China and Africa.However,the translation practice of Africa literature is still underexploration,and many African works are not translated into Chinese.We need to increase thedepth,intensity and quantity of research on great African works,and look forward to forminga rich cultural climate at an early date.
However,so far,there are relatively few studies on the Chinese translation of Africanliterature.Until March 2022,only 184 Chinese documents with high relevance of“Africanliterature”and“translation”on China National Knowledge Internet(CNKI)were found in thesearch results.The author searched the keywords“African literature”and“translation”simultaneously on EBSCO,and found only about 316 articles with high relevance.
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Chapter 2 Description of The Translation Project
2.1 Contents of East African Writing in English
East African Writing in English,was written by Angela Smith and published byMacmillan Publishers Ltd.in 1989.The book was divided into six chapters:Introduction:‘The pain of history words contain’,The Novel in East Africa,The Novel:Ngugi waThiong’o,East African Poetry,Drama and Performing Arts and Conclusion:Exile andHomecoming.
The author has translated Chapter Two“The Novel in East Africa”.The chapter mainlyconcerns the six important writers:Ngugi wa Thiong’o,Nuruddin Farah,Achebe,MejaMwangi,Charles Mangua,Mwangi Ruheni and involves more than ten important works.Ngugi was a Kenyan novelist,literary critic and playwright of the 20th century,and isconsidered a pioneer of African post-colonial theory.His works,The River Between,WeepNot,Child,A Grain of Wheat,Devil on tile Cross,Petals of Blood,Wizard of the Crow,Dreams in a Time of War:A Childhood Memoir,In the Mouse of the Interpreter:A Memoir,and Birth of a Dream Waver:A Memoir of a Writer’s Awakening have been translated intoChinese.Devil on tile Cross is a novel written by Ngugi in the prison.It takes independentKenya as its historical background and irony as its main technique to show the seeminglyabsurd but actually real Kenyan society(陆纯艺,冯德河2020).
Charles Mangua was the writer of novels that explored,among other issues,the‘hardship and urban poverty’experienced by ordinary people in places such as Nairobi,Kenya.His style was described as irreverent and often humorous.His early works Son ofWoman(1971)and A Tail in the Mouth(1972),sold more copies than any previous works ofliterature published in East Africa.He also wrote Kanina and I(1994)and Kenyatta's Jiggers(2000).Son of Woman was published in 1971 by the East African Publishing House.Weencounter a staple device of eighteenth century British fiction in updated form;it is treatedwith self-indulgent sentimentality and a bizarre mixture of styles.
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2.2 Writing Features of East African Writing in English“
In the actual E-C translation process,the translator needs to conduct a detailed analysisand studies on the writing background and relevant materials of the source language authorbefore carrying out the translation work,conduct a multi-faceted investigation,and conductthe translation on the basis of a comprehensive understanding.”(张雪纯2018)East AfricanWriting in English is a book of literary criticism.And Chapter Two“The Novel in East Africa”contains many proper nouns,African culture-loaded words and novel citations.
There are a large number of proper nouns and culture-loaded words in this book.Therefore,it is necessary to have enough relevant knowledge reserves prior to thetranslation activities to ensure the accuracy of the original information.At the same time,thecitations in the source text,mainly from the classical writings of East African authors,add notonly to the persuasiveness of the text,but also to the literariness of the text.
The discussion of African literature is almost inseparable from the language issue.Thelatter usually involves both the choice of the language to use in the literary works and how thelanguage is actually used:(i)in its pure,standard form,and,therefore,the sole medium;(ii)ina style altered by translation;or(iii)in a hybrid style in which forms of a different languageare incorporated into the main code used in the piece of writing.A whole generation ofAfrican writers in the seventies belonged to the latter tradition who used hybrid forms inwhich European languages were interspersed with African languages or pidgin forms(Gerard1984).
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Chapter 3 Case Study.....................................12
3.1 Translation of Proper Nouns..........................12
3.1.1 Names of Authors and Works Involved...............................12
3.1.2 Names of the Characters in the Novels.......................14
Chapter 4 Conclusion..............................27
4.1 Major Findings...................................27
4.2 Limitations and Further Work.....................28
Chapter 3 Case Study
3.1 Translation of Proper Nouns
There are a lot of proper nouns in the source text,including names of authors and worksinvolved,names of the characters in the novels,names of places and names of events.Specific cases are shown as follows.
3.1.1 Names of Authors and Works Involved
This translation report involves many names,most of which are names of authors andworks.It is necessary to verify a lot of materials for translation.Some works have Chineseeditions that the author can refer to,or if these works are not yet available in Chinese,sheneeds to know the content and background and then uses the transliteration or free translationto summarise the works.
Example 1:
The main focus of these chapters will be on two writers who do look into the abysswithout pandering to their readers or flattering them,and whose work is both analytic andsynthetic:Nuruddin Farah from Somalia,and the Kenyan writer Ngugi wa Thiong’o.
这几章的主要重点将放在两位作家身上：来自索马里的作家努鲁丁·法拉赫和肯尼亚的作家恩古吉·瓦·提安哥。
There are various translations of Ngugi wa Thiong'o in China.Ren Yiming and QuShijing(任一鸣,瞿世镜2003)translated it into“尼古基·瓦·西昂戈”in《英语后殖民文学研究》(Studies in English Post-colonial Literature)published by Shanghai TranslationPublishing House.Sheng Ning and Han Minzhong(盛宁,韩敏中1998)translated it into“恩古吉·瓦·提昂戈”in《殖民与后殖民文学》(Colonial and Postcolonial Literature)published by Liao Ning Education Press.There are some other translations.The authoradopted“恩古吉·瓦·提安哥”in《孩子，你别哭》(Weep Not,Child)which was translatedby Cai Linxiang(蔡临祥1984)and published by People’s Literature Publishing House.Hetranslated several works of Ngugi,such as The River Between,Weep Not,Child and A Grainof Wheat.And this translation is more widely accepted by some scholars in recent years,suchas Jianghui’s paper From“National Problems”to“Post-national Problems”:Analysis andCriticism of Two Types of“Times”in the Study of Western African Literature(蒋辉2019)and Yuan Junqing and Zhu Zhenwu’s paper Ngugi wa Thiong’o:African Perseverance andLinguistic Embarrassment in the Diaspora(袁俊卿,朱振武2019).
英语论文参考
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ChapterChapter 4 Conclusion
4.1 Major Findings
One of the most touching words in the process of translation practice is that“thetranslator is a bilingual intermediary,and he plays the role of intermediary when monolingualspeakers from different language communities communicate with each other.That is,thetranslator decodes the message delivered in language A and then re-encodes the message inlanguage B.”It can be said that a competent translator is one who can express the content ofthe source language accurately and fluently in another language,so that all readers of thetarget language can understand knowledge and world in different backgrounds in their owncontext.However,no matter what the result of translation is,the translator will always haveregrets,which are based on the fact that in order to achieve this goal,the translator willchoose to give up his original expression features or language habits and be willing to becomea bridge,the most authentic bridge connecting the original author and the reader.Whether it isa famous or an unknown translator,their creative idea is only based on the original text.Although there may be better inspiration than the original author in the process of translation,or it is thought that the original author can improve logically,in the attitude of faithfulness tothe original text and professional ethics,the author will try his best to restore the text.However,translation can also be an inspiring and energising task.It is a translator’s highestambition to be the alter ego of the original author of a text in another language,to make alittle-known or well-received work appear to the target audience in a completely different language through his or her own word-for-word deliberation,and to become a memory for afew or even millions of people later on.All the translators are unsung heroes hiding behindthe words.
reference(omitted)