The Hypertextual Pastiche Of Lin Yutang’s Writing Text Moment In Peking From His Translated Text Six Chapters Of A Floating Life

Intertextuality was on the rise in France in the late1960s. After30years evolvement, many theorists haveexpanded and enriched this theory. Then Intertextuality was mainly divided into two camps: one is the broadsense of intertextuality, the other is the narrow sense of intertextuality. Gérard Genette, a French structuralist, isone of the main figures who developed intertextuality in its narrow sense and definitively transformed theconcept of intertextuality in the field of linguistics into the concept of literary creation. He further divided thisterm into five more specific categories. Among them, he created a new term “hypertextuality” to distinguish itfrom the intertextuality in its narrow sense. The emergence of the hypertextuality is conducive to investigatingthe hypertextual techniques when doing the concrete analysis between texts. Hence, the research between textsbecomes more workable and applicable. Taking hypertextuality as theoretical framework, this thesis conducts aresearch on the hypertextual pastiche between Lin Yutang’s literary writing and his literary translation, thenprobing into the possible causes of the hypertextual pastiche between his literary writing and literary translation.Under the perspective of hypertextuality, this thesis selects Lin Yutang’s writing text Moment in Peking in1938and his translated text Six Chapters of a Floating Life in1936as the object of study. By using thecomparative method and the case study, this thesis explores the hypertextual pastiche in Lin Yutang’s two works.In addition, the thesis analyses the causual factors of the hypertextual pastiche in the two works from subjectiveand objective aspects.Specificially, there are seven chapters in this thesis. Chapter one starts with a introduction to the researchbackground, aims and significance and thesis structure. In chapter two, through summarizing and reviewing theprevious research, this research put forward its significance and innovation. The third chapter is the theoreticalframework of this thesis, including the introduction to the hypertextuality theory, the hypertextualtechnique—pastiche, the concept and expression of style, which is the essencial factor of pastiche, and thedifferences between intertextuality and hypertextuality. The fourth chapter involves research questions, researchmethod, data collection and organization and data analysis. In the fifth chapter, the thesis investigates thehypertextual pastiche in Lin Yutang’s writing text Moment in Peking and his translated text Six Chapters of aFloating Life under the dimension of characterization, plot development and linguistic features. The sixthchapter chiefly analyzes the causes of the hypertextual pastiche in Lin Yutang’s two works from the perspectiveof Lin Yutang’s subjectivity and socio-cultural context. The thesis ends with chapter seven which contains theconclusions and limitations of this research, as well as the implications for further research in this regard. It is concluded in the thesis:1) there exists hypertextual pastiche in Lin Yutang’s translated text SixChapters of a Floating Life and Lin Yutang’s writing text Moment in Peking;2) This Hypertextual pastiche ismainly embodied in: The heroine “Yao Mulan” in Lin Yutang’s writing text Moment in Peking imitates histranslated text Six Chapters of a Floating Life in the style of characterization and Chen Yun’s style; His writingtext Moment in Peking imitates his translated text Six Chapters of a Floating Life in the style of plot composition;And his writing text Moment in Peking imitates his translated text Six Chapters of a Floating Life in linguisticstyles;3) The writer and translator’s subjectivity and the socio-cultural context are the causes of the hypertextualpastiche in Lin Yutang’s two works.