Abstract
Literature works of supranational or international significance must have considerable “translatability” internally. Mo Yan’s works show obvious world characteristics in the theme and techniques of creation, which constitute the internal “translatability” of his works. This paper discusses the translatability of Mo Yan’s novels from four aspects: the theme, the structure, the image and the language of the novels, and then analyzes the translatability of the theme reflected in the English translation. The paper finds that, the translatability in the theme of creation is embodied in its most basic and natural desires and emotions of human beings, and the universality beyond time and space, that the translatability of the novel structure is embodied in the strong story-telling feature and the obvious plot of the novel, that the translatability of the image is embodied in its clear and common reference of the images, and that the translatability of the language is embodied in the language characteristic of story-telling, and the less profound and obscure language expressions. This paper also takes the English versions of Red Sorghum and Big Breasts & Wide Hips translated by Howard Goldblatt as examples to analyze in detail the embodiment of translatability in the theme of the novel. It is found out that due to the translatability in the theme of the original novels, the English translation greatly represent the themes expressing humanity, free life and religion.
Highlights
INTRODUCTIONRegarding the translatability of literary works, Benjamin believes that every literary work has its own “translatability”, and there are two implications as to whether the work is translatable or not: one is whether a suitable translator can be found in the readership, and the other is whether the nature of the work is suitable for translation (quoted from Wang: 2009).As to whether the nature of the work is suitable for translation, Benjamin believes that as each language should express or construct the experience and values of the ethnic community,what is conveyed by the construction of the translated language can only be the experience already existing in its own community, even though translation attempts to express the same experience as the original work.What translation shows is that human experiences are similar but not exactly equal, and that similarity can inspire empathy, and understand what is the unequal experience (Yang:2009).From this point of view, whether the nature of a literary work is suitable for translation or “translatability” of a literary work can be understood as whether a work expresses similar but unequal characteristics of human experiences.If the similar but unequal features of human experience in a literary work can be translated and transmitted, it will help people to understand the cultures of different nationalities, helping people to understand the overall experience of human existence and helping people to sympathize with others.such literary works have strong “translatability” and “call for translation”(Yang: 2009)
The paper finds that, the translatability in the theme of creation is embodied in its most basic and natural desires and emotions of human beings, and the universality beyond time and space, that the translatability of the novel structure is embodied in the strong story-telling feature and the obvious plot of the novel, that the translatability of the image is embodied in its clear and common reference of the images, and that the translatability of the language is embodied in the language characteristic of story-telling, and the less profound and obscure language expressions
This paper takes the English versions of Red Sorghum and Big Breasts & Wide Hips translated by Howard Goldblatt as examples to analyze in detail the embodiment of translatability in the theme of the novel
Summary
Regarding the translatability of literary works, Benjamin believes that every literary work has its own “translatability”, and there are two implications as to whether the work is translatable or not: one is whether a suitable translator can be found in the readership, and the other is whether the nature of the work is suitable for translation (quoted from Wang: 2009).As to whether the nature of the work is suitable for translation, Benjamin believes that as each language should express or construct the experience and values of the ethnic community,what is conveyed by the construction of the translated language can only be the experience already existing in its own community, even though translation attempts to express the same experience as the original work.What translation shows is that human experiences are similar but not exactly equal, and that similarity can inspire empathy, and understand what is the unequal experience (Yang:2009).From this point of view, whether the nature of a literary work is suitable for translation or “translatability” of a literary work can be understood as whether a work expresses similar but unequal characteristics of human experiences.If the similar but unequal features of human experience in a literary work can be translated and transmitted, it will help people to understand the cultures of different nationalities, helping people to understand the overall experience of human existence and helping people to sympathize with others.such literary works have strong “translatability” and “call for translation”(Yang: 2009). IJCLTS 8(3): artistic expression, bearing the characteristics of postmodernism They are anti-traditional in text sense and often cause some obstacles in reading.In terms of time, the past, the present and the future overlap with each other, and a large number of flashbacks and flashbacks are used, the sequence of the works appears very disordered, and readers are easy to get lost and confused.In terms of space, as time goes by, the place where the incident took place changes, and the reader’s thoughts may jump forward with the novel. With examples from Mo Yan’s representative novels Red Sorghum and Big Breasts and Wide Hips and Howard Goldblatt’s English versions, the following part of the paper is to discuss in detail how Howard Goldblatt’s English version reflects the translatability of the original text on the theme of Mo Yan’s novels
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: International Journal of Comparative Literature and Translation Studies
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
