| Liaozhaizhiyi which has the most foreign language versions is one of the most widely propagative Chinese fictionsin the area of the translation of the classical Chinese literature. Since German missionary Karl Gutzlaff translated Liaozhaizhiyi into English for the first time in1842, seventeen English versions and numerous selected translations have appeared. It is the influential translations that many domestic scholars have already studied these English versions of Liaozhaizhiyi, however, most of them focused on Giles’or Yang Xianyi’s translation which has already been accepted as the classical versions. John Minford is one of the most excellent sinologists in contemporary western world, and he has made great achievements in the area of Chinese literature’s study and translation. His Strange Tales from a Chinese Studio which contains many different literary elements compared with other versions was published by the Penguin Books in2006. Nevertheless, nobody has ever studied this translation version of Liaozhaizhiyi so far. That’s why this thesis will try to fill the research blank of this translation. More specifically, this thesis will take Minford’s translation as the core study object, and take the Giles’s translation which is the most important and influential version in the history of Liaozhaizhiyi’s English translation as a reference, in order to explore the characteristics of Minford’s translation and interpretation by analyzing the text in a specific method.In consideration of most researchers took a single theory to study the English version of Liaozhaizhiyi, this thesis will try my best to avoid the tendency of using literary theory mechanically. This thesis will analyze the strategies and methods which Minford used through the original and translated text of Liaozhaizhiyi. What’s more, the translations’ evolution between Giles and Minford will be digged, and Minford’s translation’s new literary characteristics will be elucidated by the theories of Hermeneutics, Narratology and so on. For the sake of completing these goals, this thesis will be divided into four chapters to discuss these questions:To begin with, the first chapter focuses on the preparation of Giles and Minford before they started their translations, in other words, their emphasis on the author Pu Songling and the principles of their selections will be discussed so that we can make clear of Minford’s more inclusive literary vision on account of the changes of the context of the history culture. The second chapter aims to explore the endeavor that Minford made in the level of his literary translation language. Minford has studied Liaozhaizhiyi’s classical Chinese more accurately for the sake of preventing his readers from misunderstanding. And he can tell his translational stories in a more smoothly way which guaranteed his translation’s diffusion. The third chapter aims to explore the narrative practices of Minford’s translation. These practices include that Minford has intensified the fictionality and plot of the stories through different kinds of detail operations, illustrated and highlighted the artistic images of fox-spirits and ghosts. The forth chapter focuses on the exploration and interpretation which Minford has done in the aspect of the culture implication of Liaozhaizhiyi. He devoted himself to explore the culture strangeness which is caused by the differences between the west and Chinese culture, the magic(shu) that belongs to Chinese religion and superstition. What’s more, he also seized and highlighted the emotion and humor that Pu Songling embedded in the Liaozhaizhiyi.The epilogue will summarize the whole thesis for the sake of criticizing Minford’s translation in a scientific way, which will make clear of Strange Tales from a Chinese Studio’s position in the history of Liaozhaizhiyi’s English translation. By these analysises, Minford’s Strange Tales from a Chinese Studio’s typical advantages and disadvantages will be presented and acquired a comprehensive and scientific summary. |
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