| Bi Feiyu is one of the most famous contemporary writers in China.Since the end of 1980s,he has brought us many great literary works,such as The Moon Opera,Three Sisters,Massage and so on,which helped him win a number of significant literary awards at home and abroad.He is always clear with the style of literary creation that he pursues and puts it into practice in different fields including descriptive structure,language description and so on.The distinctive style of the writer,namely the elegant and pure language as well as the simple but delicate narratives,endows his works with a splendid literary value;however,it brings many challenges to his foreign translators.France is the first Western country that carried on the translation of Bi's works.It is his French versions that helped Bi enter into the world of international literature officially.Moreover,his success in France is closely connected to the reproduction of the writer's style in his French versions.Therefore,this dissertation makes a systematic study on the reproduction of style in Bi's French versions,through a comparative text analysis,in order to make some contributions to the theory and the practice of the literary style translation.This study is divided into three chapters.The first chapter,above all,specifies the literary style of Bi and delineates the translation and the reception of his works in France.Beginning with a brief introduction of his six works translated in France,namely The Moon Opera,The Marsh marrow in Rainy Day,Shanghai Memories,Three Sisters,The Plain,Massage,as well as his three French translators.Supported by the existing studies in China,this research analyses the writer's style,namely 'removing the weight',from the aspects of 'the narrative structure' and 'his original language',especially that in his six romans which are already translated in France.The focus is on the revelation of Bi's literary style and its development.The second chapter aims to carry on a comparative analysis on the reproduction of Bi's style in his six French versions.From the perspective of Liu Miqing's theory on the system of stylistic makers,the study first examines the four formal makers,register makers,lexical makers,syntactical makers and makers of figures of speech,in his French versions in a scientific way.With the help of related criticisms in France and in China,the following involves a broad sense of the reproduction of Bi's style through an overview of the reception in France of the writer's style under the guidance of the Jauss' theory on reception aesthetics,in order to observe carefully if they have conveyed the writer's style,thoughts,feelings as well as the intern quality of his works and so on.On the basis of the first two chapters,the third chapter tries to review the fusions of stylistic makers between writer and translator so as to get a deeper understanding in the practice and the theory about the style reproduction.To begin with,in the light of Gadamer's theory on fusion of horizons,the chapter presents and evaluates Bi's three French translators as well as their translation style rather objectively,trying to expound how their stylistic markers fuse with the writer's stylistic makers.Then,based on the Liu Miqing's theory concerning the translation of style,the research proposes some concrete suggestions related to the reproduction of literary style with the fruits inherited from the second chapter.To conclude,on one hand,this research aims to deepen the understanding of Bi's French versions through reviewing the whole processes of translation and reception of Bi's literary works in France.On the other hand,this paper gives certain enlightenment in the aspect of the reproduction of literary style. |
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