Translation Comparison About Manner And Path Of Emanation Fictive Motions In Moment In Peking — Illustrated By Two Versions Translated By Zhenyu Zhang And Fei Yu

Abstract

Fictive motion is a pattern of cognitive representation to describe the physically motionless phenomenon, which can depict the static scene more vividly. Based on Talmy’s motion event theory, this paper analyzes and compares the translation of the path and manner information from the perspective of emanation fictive motion in two versions of Moment in Peking. The results showed as follows: in regard to orientation path, Yu’s version is apt to omit vector morpheme of path, weakening the specific details of path, while Zhang is apt to add conformation in translation to emphasize spatial information; In regard to radiation path, Yu tends to open the medial and final windowing of attention to de-emphasize source of radiation. By comparison, Zhang tends to open initial and final windowing, and he often add the final windowing to stress environment because he adopts the perspective of third-person omniscient narration; In regard to shadow path, there is little difference between two versions since the phraseology of shadow is restricted; With respect to sensory path, both versions are inclined to convert [Motion+vector] into [motion+manner], and Zhang is prone to transform vector into conformation as orientation path.