On The Translation Of Style In Wang Xiaobo’s 2015 From The Perspective Of Style Translation Theory

Inspired by the author‘s interest in Wang Xiaobo and his literary style and motivated by the current vacuum in relevant translation studies,this thesis selected Wang Xiaobo‘s novel 2015 and its translation by Zhang Hongling and Jason Summer as research subject and looked into the translation of its style.It aims to discover what translation strategies are used in the translation of this novel,evaluate their effects and come up with possible suggestions for future literary translation.Previous studies on Wang Xiaobo‘s literary style,the translation of Wang Xiaobo‘s works and studies on style and translation both home and abroad were reviewed,followed by a detailed introduction of Liu Miqing‘s Style Translation Theory,including his categorization of form markers and non-form markers,as the theoretical basis of this thesis.Then the author conducted a detailed textual analysis from the perspectives of form markers and non-form markers and summarized the observations from the analysis.Three major findings are thus drawn on this basis:(1)the strategy of corresponding and decolouring are mostly used in the translation of 2015,which maintains the original style at most cases while serving as a compromise in places that are difficult to translate;(2)the effect of translation are basically satisfactory but still with some defects – some translations are not so appropriate because of the ―side-effect‖ of decolouring and the lack of deliberation on the original literary style;(3)translating cultural-specific words and expressions are often more difficult than dealing with elements on the linguistic level.These findings lead to four suggestions that focus respectively on the importance of understanding the style of the original work,the risks in using the strategy of corresponding and decolouring,the challenges that cultural-specific words and expressions may pose to translators,and the possibility of incorporating imagery as the fourth non-form marker in the discussion of style translation.