Rendering Of Style In Li Wenjun's Chinese Translation Of The Sound And The Fury

The style and its translatability has long been one of the main topics on the translation forum. After exploring the definition and translatability of the style and the approaches to render it into TL, the author takes a close look at the transference of the style in Li Wenjun's translation of THE SOUND AND THE FURY by William Faulkner and comes to the conclusion that the transference of style from SL to TL shall be the among the translator's goals; this goal can be achieved by means of the stylistic marks. The purpose of the thesis is to benefit future practice in style translation and relevant studies.Style shows the author's character, which lies in the forms and wording of the text. Style is translatable with limitations. Because of the function of expressing the meaning is essential to all languages, the translatability of the stylistic marks as well as the decrease of cultural barrier, the style is translatable. However, the semantic non-correspondence between languages, translator's personal interpretation of the discourse and the cultural difference make the absolute translation of style impossible.To translate the seemingly intangible style, the translator can use the stylistic marks, which show the specific style of the discourse and can be rendered into TL carrying the SL text's style through corresponding code conversion and imitation code conversion. According to the author, there are five main categories of stylistic marks, including phonological marks, lexical marks, syntactic marks, textural marks, and rhetorical marks.Faulkner's THE SOUND AND THE FURY features the characteristics of the stream of consciousness and of the delay. The writer manipulates the skills of confusing the time and space order, delaying the ensuing information, repetition and ellipsis of punctuations to produce the disorder in narration and uses fuzzy meaning of pronoun, elliptical sentences and non-speaker quotation to blur the information and add to the subjectivity of narration, which are all typical in the stream of consciousness writings. Due to the characteristics of the stream of consciousness style, the novel requires highly the involvement of the reader and challenges the reader's analyzing ability. Meanwhile, the style of delay provides the reader with the pleasure of understanding when they finally apprehend the profound meanings.In most of the cases, Li Wenjun, the translator of the novel, notices the stylistic marks and adopts the method of either corresponding code conversion or imitation code conversion to transfer the novel's style into Chinese discourse. Based on the analyses of Li Wenjun's translation of the style and the theories cited before, the author comes to the conclusion that although the absolute rendering of the style is impossible, it is still the translator's task to translate the style from SL to TL using the stylistic marks.