本文是一篇英语论文，本文通过形象学的两种主要分析路径探究葛浩文对《蛙》英译本中女性形象的重塑，即文本内部分析和文本外部分析，尝试解决两个研究问题。
Chapter One Introduction
1.1 Background of the Research
英语论文怎么写
Mo Yan is a representative writer of contemporary literature in China.Since hewon the Nobel Prize in literature in 2012,Mo Yan has been widely known around theworld.Research on his literary works has become increasingly extensive.Mo Yanspent ten years writing the Chinese novel Wa,which won him the Mao Dun LiteratureAward in 2011 in China.Gugu,the Little Lion,Wang Renmei,Wang Dan,Chen Meiare the representative female images that Mo Yan tries to depict in Wa.Although theprotagonist in this novel is male,the female in this novel plays an important role indepicting the reality of the times of the period of the Family Planning Policy.Thefemale images in Mo Yan’s Wa can be roughly divided into three groups:midwives,gravidas,and the women cadres of the Family Planning Policy.More and morestudies probe into the English translation of the Chinese novel Wa,but few studiesfocus on the female images in English translation of Wa.Imagology is increasinglyintegrated into translation studies in the academic field.The introduction ofImagology has provided a new research perspective for translation studies.
Imagology stresses the importance of the continuous conversation betweendifferent cultures and it carries the speciality of the interdiscipline and the interculture.The focus of the research in Imagology is not on the construction of an exotic imagein a single culture or country,but in the transnational contexts in various art forms,especially literary works.The translation studies are also an intercultural andinterethnic discipline.As one of the most important channels of interculturalcommunication,translation plays an important role in the construction of the exoticimage,especially the construction of the image of“the other”.
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1.2 Objectives of the Research
This thesis takes the Imagology of Comparative Literature as the theoreticalperspective and takes Golblatt’s English translation of the Chinese novel Wa as theresearch object.The thesis intends to conduct a careful analysis of the reconstructionof the female images in Goldblatt’s English translation of Wa with two approaches ofthe Imagology:intrinsic textual analysis and extrinsic textual analysis.The femaleimages in the source text(ST)are divided into three main groups:gravidas,midwives and the women cadres of the Family Planning Policy on the basis of the classificationof Cheng Wan(2019)in this thesis.The author of this thesis mainly adopts thequalitative method for the current research,including a case study and a comparativestudy between the Chinese novel Wa and its English version.
The thesis collects and annotates the corpora of lexicons,hierarchicalrelationship and plots depicting various female images in the ST of Mo Yan’s Wa.Itfurther summarizes and analyzes the characteristics of female images such as Gugu,Little Lion and Wang Renmei.The thesis compares the corpora of lexicon,hierarchical relations and plots depicting female images in the source text with thosein the target text with an aim to explore in what ways the Goldblatt reconstructs thefemale images in his English translation of Wa.Finally,the thesis analyzes whatinfluences the translator’s reconstruction of the female image in his Englishtranslation of Wa from the angles of social collective imagination,the translator’sindividual factors and social environment.The thesis intends to address the followingtwo research questions:
(1)In what ways does Howard Goldblatt reconstruct the female images in hisEnglish translation of the Chinese novel Wa？
(2)What influences Howard Goldblatt’s reconstruction of the female images inhis English translation of the Chinese novel Wa?
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Chapter Two Literature Review
2.1 About Female Image
When it comes to Western modern feminist literary criticism,Virginia Woolftook the lead in applying the female perspective to literary criticism.She reflected onthe situation of women and takes the gender issues seriously.Women’s ImageCriticism sorts out the distorted female images in literary texts to launch a fierceattack on patriarchy and masculinism.Simon de Beauvoir(1953)pointed out thereality that the female images created by five male writers are regarded assubordinated objects in The Second Sex.In Sexual Politics,Kate Millitt(1999)revealed the gender biases and sexual violence in literature and deconstructed theconstruction of the derogatory female images.The female image under the malewriter’s creation can be divided into two kinds,either“monster”or“angle”.Andfemale is usually distorted and the females become the invisible roles in the malewriter’s literature creation.In Images of Women in Fictions:Feminist Perspectives,the writers criticized the unreal female images in literature(Cornillon:1972).ElaineShowalter(1977)pays special attention to the invisible female writer and probes intothe literary tradition of the females.Sandra M.Gilbert and Susan Gubar(2000)promote feminist criticism from the analysis of female image construction in theworks of male writers to a new stage of sorting out women’s literary traditions,andexamining women’s aesthetic characteristics.
In China,Dai Jinhua and Meng Yue(1989)conducted a research on the ChineseFeminist Criticism and feminine literature and they reveal that two kinds of femaleimages created by the male writers and they are“Xianglin’s Wife Series”and“TheNew Women”.Li Ling(2002)categorized the female images in modern literaryworks of male into four groups,namely angles,wicked women,positive andindependent women,and stragglers.Liu Chuanxia(2007)holds a view that there arefour kinds of female images in modern Chinese literature:grass-root women,newwomen,prostitutes and madwomen.
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2.2 Previous Studies on the Female Images in the Translation ofLiterary Works
At present,the role of a single female or the groups of the female images inliterary translation are particularly concerned by researchers.With the development ofideological progress and the change of gender awareness,the researches show a trendof the creation of positive and comprehensive female images.Many scholars havecarried out the research on female images in the translated works,specificallyexploring the reproduction or reconstruction of female images in the target text(TT)by translators.These studies deeply explore the binary opposition between men andwomen in the patriarchal society in literary translated works,which is a newinterpretation of the relationship between men and women in different historicalcontexts.In the researches of female images in literary translation,most of researchesmainly study the genre of novel and poem.
First of all,there are scholars who study the group of the female images inliterary works.Zhang Weiqing and Zhang Zheng(2010)find that Li Shao,a hermit,inorder to match the patriarchal cultural characteristics of the target language,rewrites Western women into thin and weak Chinese female image,and even changes theirmarital status to meet the requirements of Chinese feudal society.Li Bo and YangDairuo(2012)take the Seven Kings’Meeting as an example to reveal and explain thesocial reasons for the manipulation and rewriting of western female images intranslation,like the gender composition,educational background,employmentdistribution in Hong kong.Zhou Min(2018)finds that Lin Shu performed faithfultranslation when translating the foreign females in Haggard’s novels,and the conceptof“you wu”also impacted the Chinese traditional female image.Fu Wenhui(2019)discusses how the Chinese female images are constructed by China LiteraturePublishing House through the selection of materials and the comparison with theWestern stereotype.Wang Yunhong(2019)makes a comparative analysis of therelevant female images constructed in the Shapiro’s English version of Outlaws of theMarsh.Wang Sa(2021),taking the representative female’s poems of the TangDynasty as the corpora,discusses the poetic functions of the symbolic female imagesfrom the perspective of the para-text theory.
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Chapter Three Theoretical Framework .................... 18
3.1 Overview of Imagology ........................... 18
3.2 Main Elements in Imagology ................. 19
Chapter Four Intrinsic Textual Analysis of Goldblatt’ s Reconstruction of the Female Images in his English Translation of Wa .......... 33
4.1 Mo Yan and his Wa ........................ 33
4.2 Howard Goldblatt and his Frog ........................ 34
Chapter Five Extrinsic Textual Analysis of Goldblatt’s Reconstruction of theFemale Images in his English Translation of Wa ......... 61
5.1 Influence of Goldblatt’s Social Collective Imagination on Chinese Femaleson his Reconstruction of the Female Images in Frog ............. 62
5.2 Influence of Goldblatt’s Personal Experiences, Emotions and Ideology on his Reconstruction of the Female Images in Frog ........... 66
Chapter Five Extrinsic Textual Analysis of Goldblatt’sReconstruction of the Female Images in his EnglishTranslation of Wa
5.1 Influence of Goldblatt’s Social Collective Imagination on ChineseFemales on his Reconstruction of the Female Images in Frog
英语论文参考
Amongst the stereotyped lexicons,unequal hierarchical relationship andprocedural plots in literary works,a fixed social collective imagination on Chineserural females is being formed.The mass media plays a significant role in spreadingthe changed or distorted images of Chinese females among English readers.And thosewritten or spoken records,comments or judgement may exert a great influence on theformation or spreading of the social collective imagination on Chinese females in thetarget language culture.In the social collective imagination of the West,there existsome misunderstandings on the behaviors,practices and appearances of the Chinesefemales,leading to the fact that their images may be distorted,more or less,in thetarget language readers’mind.As the hetero-image may sometimes reflect theself-image of the observer,the female images in foreign readers’eyes always featuretheir own thoughts as well as judgement and mirror their own social collectiveimagination.
The representation of the images of Chinese females in the West could be tracedback to Travels of Marco Polo(1958).The records on the Chinese females in thistravel note represent classical and typical images of the Chinese women in the world.This was the beginning of the understanding of the beautiful appearance,gentletemperament and character of the Chinese females in Westerners’eyes.Many writersand poets such as Charles Lamb,Thomas Hood,and S.T.Coleridge in the UK havealso processed and rendered the Chinese images into this kind of beautiful appearanceand gentle temperament(Chan,1989:xxix).The beautiful,exotic,dainty,and docilefemale images have gradually become an important type in the genealogy of Chinesefemale images in the English world(Fu,2019:70).As time went by,the images ofChinese females in the English world may experience a negative change to someextent.When talking about the Chinese women,Edward Alsworth Ross(2006)basically described their negative and repressed life,such as the physical and psychological pains brought by foot binding,the lack of rights to education,and thefact that most women with high status took opium and gambled due to psychologicalrepression and the lack of freedom.
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Chapter Six Conclusion
6.1 Major Findings
In the previous chapters,from the perspective of Imagology and through intrinsicand extrinsic textual analysis,a research on Goldblatt’s reconstruction of the femaleimages in his English translation of Wa has been conducted.Through a comparativestudy between the ST and the TT,the following major findings have been concludedbased on the settlement of the two research questions.
Based on the previous classification of the female images,the female images inWa have been categorized into three main groups:gravidas,midwives,and womencadres of the Family Planning Policy.Among the midwives,there are traditionalmidwives and modern obstetricians and gynecologists.The gravidas include thewomen with normal pregnancies and births,women with an illegal pregnancy,womenwith a surrogate pregnancy and the women with an immoral pregnancy.The researchis conducted on the basis of these three groups of the female images.The firstresearch question has been addressed through the intrinsic textual analysis and severalcase studies.Firstly,in terms of the lexicon,it is found that Goldblatt mainly rewritesthe vulgar or negative lexicons,shaping the female images into milder and morepositive ones in the TT.Due to his misunderstanding or individual understanding ofthe Chinese culture,he infuses his own views when he is rewriting some of thelexicons in the TT.Thus,the three groups of the female images in the TT more or lessdeviate from those in the ST.Secondly,in terms of the hierarchical relationship,in theface of the long-existing unequal hierarchical relationship between the West and the Orient,and between females and males,Goldblatt,as a Western male translator,triesto promote the gender equality or improve the females’status in this dual hierarchicalrelationship.He gives more prominence to the superiority of the females in the TT.Heabandons the concepts of“Orientalism”,thus his reconstructed female images areneither ideological nor utopian.Thirdly,in terms of the plot,the programmed plotsshaping the female images in Wa reflect the traditional Chinese fertility concept of“Duo Zi Duo Fu”(多子多福),child-rearing concept of“filial piety”(孝道)and“Yang Lao Song Zong”(养老送终)and the family concept of“Fan Zu Gui Zong”(返祖归宗).When translating these programmed plots,Goldblatt can not break free fromthe Western stereotyped and fixed social collective imagination on Chinese females.These concepts are strengthened through his rewriting in the TT.
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