论文化意象的归化和异化 选题报告

1、天津大学硕士研究生选题报告及论文工作计划表硕士生姓名： 魏宏君 学号：硕2020062296 入学年月： 2006年9月 所属学院：社会科学与外国语学院 专业：外国语言学及应用语言学 导师姓名： 杨福玲 评议组成员姓名 职 称： 副教授 1、课题来源： （1）导师研究课题的一部分 （2）自己选择课题 （3）其它 （选一项打）2、项目所属性质：（1）基础研究 （2）应用基础研究 （3）应用研究 （4）开发研究 （5）工程设计 （选一项打）3、预计论文完成时间： 2008 年 6 月 5 日 选 题 报 告 时 间： 2007 年 12 月 15 日 参加报告范围及人数： 1人 1、 拟选课题国内

2、、外的研究动态、水平、存在问题，并附主要参考文献：research on the topic at home and abroad:1.introductionevery nation is closely connected and supplemented with each other with its own language and culture. as the carrier of culture, language is a part of culture and it cant exist without culture. culture must be preserved,

3、 broadcasted and inherited depending on language and its development promotes the development of language. there is a close relationship between translation and culture just as it is between language and culture. since the 1980s of the last century, cultural value theory of translation has gradually

4、 become one of focuses in the field of translation research as the rising of cultural school. cultural images mostly condense national wisdom and the cream of historical culture. different nations always produce their own peculiar cultural images due to differences of living surroundings; cultural t

5、raditions and other factors. quite a lot of them have close relations with a peoples legend and its totemism. “in the long historical years, they appeared in peoples language, literary works, idioms, proverbs and so on. they formed a kind of cultural symbol with fixed and unique cultural connotation

6、s and some of them created rich and far-reaching associations.”(xie tianzhen,1999)along with more and more international culture communication, many more scholars transfer their eyes from translation on the pure language level to processing cultural factors, dealing with cultural images from the per

7、spectives of translating skills, psycholinguistics, culture comparison, foreignization and domestication, among which the views on foreignization and domestication has evoked a heated controversy.2. literature review2.1 language and culture2.1.1 the definition of culturemr. wang zuoliang once pointe

8、d out, “without the comprehension of its culture, nobody can master the language.” probably the first important definition of culture is given by b.tylor，a british anthropologist in primitive cultures(1871)，he defines culture as “that complex whole which includes knowledge，belief，art，law，morals，cust

9、oms and any other capabilities and habits acquired by man as a member of society”. as can be seen，tylors definition has stressed the spiritual part of culture，but has neglected its material basis without which culture is an impossibility. historical materialism holds that culture is，in a broad sense

10、，the sum total of both material wealth and spiritual wealth created by man in the historical development of human society and that culture，based on social material production，is nothing but the ideology of a given society together with the social system and social organizations corresponding to it.

11、still，deng yanchang and his co-author liu runqing articulate their statement，“our term culture refers to the total pattern of beliefs，customs，institutions，objects，and techniques that characterize the life of a human community.”(deng yanchang and liu runqing,1989) because culture is so broad in its s

12、cope, scholars have had a difficult time trying to arrive at one definition of what it is to be. after reviewing about five hundred definitions of culture, kroeber and kluckhohn proposed the following definition: culture consists of patterns, explicit and implicit, of and for behavior acquired and t

13、ransmitted by symbols, constituting the distinctive achievements of human groups, including their embodiments in artifacts; the essential core of culture consists of traditional(i.e., historically derived and selected)ideas and especially their attached values; culture systems may, on the one hand,

14、be considered as products of action, and on the other as conditioning elements of further action.(samovar & porter, 1991)more specifically concerned with language and translation，newmark(1988) defines culture as “the way of life and its manifestations that are peculiar to a community that uses a par

15、ticular language as its means of expression”，thus acknowledging that each language group has its own culturally specific features.2.1.2 the relationship between language and culturein order to comprehend the activity of translation，we need to clarify the relationship between culture and language. cu

16、lture and language have close ties. lotmans theory states that，“no language can exist unless it is steeped in the context of culture; and no culture can exist which does not have at its centre，the structure of natural language”(lotman,1978).language plays a very important role in the development and

17、 formation of culture. “language is the primary means by which a culture transmits its beliefs，values，and norms. it gives people a means of interacting with other members of the culture and a means of thinking”(dai weidong,1989). some scientists consider it the key-stone of culture. without language

18、，they maintain，culture would be impossible.being ubiquitous and complex, culture has the potential to include nearly everything which may generally be classified into three categories: artifacts(such as electric lights);concepts(such as worldviews, beliefs and value systems);and behaviors(which refe

19、r to the actual practice of concepts)(胡文仲,1988). hall (1977) put this quality of culture as “there is not one aspect of human life that is not touched and altered by culture.” american translation theorist eugene a.nida (1964) classified cultural factors of language into five categories: ecology, ma

20、terial culture, social culture, religious culture and linguistic culture. simply speaking, culture refers to the entire way of life of a society, or the ways of a people. language is the carrier of culture with profound cultural meanings. 2.2 culture and image2.2.1 the definition of image“image”(eik

21、on, or imago)“originally meant no more than picture, imitation, or copy.”(ray frazer,1960)by this sense, image is a picture formed in the mind and “used to denote a verbal expression that evokes a mental picture or recalls a physical sensation, not necessarily visual”(james y.liu,1990).in addition,

22、jonathan culler (1983)explains image in grolier academic encyclopedia as follows: derived from the latin “imago”(“picture”, “semblance” or “likeness”),an registration on image is a representation of what is perceived the mind of an object or scene. in literary criticism the term is used both for the

23、 representations produced in the mind by verbal descriptions and for the descriptions or characterizations themselves, since the mental pictures, or images, may be thought of either as separate from words or as integral features of the verbal characterizations.websters encyclopedic unabridged dictio

24、nary of the english language (david yerks, 1996) gives the definition of the image as the following: to picture or represent in the mind, imagine and conceptive; a mental representation, idea and conception; a figure of speech esp. metaphor or a simile and so on. cultural image refers to typical ima

25、ge with specific cultural connotation that is rooted in cultural soil. they have distinctive national nature in history and region, which are specific embodiments of national nature.2.2.2 cultural imageup to now, people still lack the knowledge of cultural image. they always separate image from cult

26、ure and look on it as a kind of rhetoric method. there is an extremely close relationship between cultural image and figurative term, however, they are different, cultural image penetrates into these terms and contains more wide and deep implications. cultural image has manifold expressive forms: it

27、 can be somebody. these figures can be some figures created in novels or history; it can be a kind of plant. it takes national culture as backgrounds and geographical environments to affect and restrict itself; it can be a kind of animal, which is bird or beast in reality or legend and it is the ref

28、lection of aesthetic and value standards of different nations; it can be image or vehicle in an idiom, a proverb, an allusion or certain adjective phrase, otherwise, it can also be some number; it runs through all along in the course of every national development. it not only enriches its own nation

29、al language but also promotes the development of other national cultures. just as linguists say that people of different nations in the world see the same objective phenomenon, however, different national languages brush it in different color.palmer studies the relationship of language and culture f

30、rom the cognitive perspective. in his view, language, culture and imagery are inseparable from each other, and he studies these three terms in a whole. “language is the play of verbal symbols that are based in imagery (1996:1)”, and “virtually all imagery is structured by culture and personal histor

31、y (1996:49).”language enables us to communicate about imagery in our mind; it can also evoke and create imagery in our mind.2.2.3 the forms of cultural imagesat first, the terms of “image” and “imagery”, which appear frequently in the poetic glossary and replace each other in many cases, need to be

32、explained. imagery refers to images in general, a group or a body of related images in a painting or a poem. this is explicitly acknowledged by lakoff (1987), who said, “the term image is not intended here to be limited to visual images. we also have auditory images, olfactory images, and images of

33、how they act upon us.” palmer uses the word imagery to include both visual and non-visual images. in this usage, he was with langacker (1987) who broadened imagery to sensory imagery, visual imagery, auditory imagery, etc. so we can put it in such a way that, imagery is a broadened term, and compare

34、d to image, it is more general. image usually is used to refer to the visual image or some specific image from a single peripheral organ. the use of imagery makes it more convenient to comprehend images from all the peripheral organs of our human body. in cultural linguistics, the study focus should

35、 not only be put on visual images, but on imagery which includes visual images as well as auditory images, olfactory images, and kinesthetic images and temperature images. according to human senses, namely, sense of sight, hearing, smell, to taste, imagery in verse can be categorized into the follow

36、ing five groups: 1 visual images 2 auditory images .3 olfactory images 4 tactile images .5 gustatory imagesaccording to professor yuan xingpei(1998),images can be categorized into five major groups:images of the natural world, such as celestial bodies, climate, geographic conditions, animal and plan

37、t, etc.;images of social life, such as war, travel, fishing, hunting, marriage, death, etc.;images of humans, such as their bodies, organs, senses and psychological movement, etc.;images of human society, such as buildings, costumes, utensils, cities, etc.;images of supernatural beings, such as the

38、immortals, deities, souls, demons, etc.2.3 the reasons of cultural images translationsusan bassnett（2001） believe that translation is the exchange between internal culture and culture; translation equivalence is the equivalence on cultural function between the source language and the target language

39、. it undoubtedly breaks through concepts of traditional translation studies and brings translation studies into a new stage.in translation, the translated version should, from the perspective of culture, make exactre-expression of the meaning of the source text, and cultural “fax” is the ideal targe

40、t of translation. thanks to the difference of thinking mode and culture background between chinese and english people, a same image may carry quite different meanings. in order to arouse the readers direct image, a translator should try his best to keep the images in the source text, and should, acc

41、ording to the cultural and linguistic custom of the target language, decide whether he should take an forgeinizing or domesticating method, and makes a choice between image re-appearance, image change, image-addition and image-abandonment.2.4 methodology of translation2.4.1 foreignization and domest

42、ication foreignization and domestication, as a pair of new terms, emerge in the translation field. domestication refers to the target-culture-oriented translation in which unusual expressions to the target culture are exploited and turned into some familiar ones so as to make the translated text int

43、elligible and easy for the target readers. foreignization is a source-culture-oriented translation which strives to preserve the foreign flavor as much as possible in order to transfer the source language and culture into the target one.the embryonic form of both terms appeared first in the speech o

44、n the methods of translation delivered by a german philosopher schleiermacher（1992） in 1813. in the speech, he pointed out that there were only two methods of translation. “either the translator leaves the author in peace, as much as possible, and moves the readers towards him; or he leaves the read

45、ers in peace, as much as possible, and moves the author towards them”(venuti,1995).though schleiermacher gave the detailed description of these two translation methods, he failed to offer certain terms for them. an italian american translation theorist lawrence venuti finished this task. he summariz

46、ed the former as foreignizing method and the latter as domesticating method.venuti(1995) is a representative of the deconstruction theory. he defined foreignization as “an ethno deviant pressure on those values to register the linguistic and cultural difference of the foreign text, sending the reade

47、rs abroad” and domestication as “ethnocentric reduction of the foreign text to target-language cultural values, bringing the author back home”. his definitions were made against a background of cultural decolonization. eschewing the traditional fluent strategy prevailing in western translation which

48、 seeks an illusion of transparent translation, he advocates foreignization in translation so as to resist the dominance of the target language (mainly english).he regards the domestication as cultural narcissism and imperialism and the purpose of foreignization as a kind of resistance against ethnoc

49、entrism and racism. thus, “imperialistic abroad and xenophobic at home” (venuti,1995),the terms in fact aim at strengthening ones own political and economical position by means of excluding heterogeneous cultures.2.4.2 the debates in chinatranslation theorists in china have accepted the terms since

50、their appearance because they can recall two similar conceptionsliteral translation and free translation. lu xun once said,” before translating, the translator has to make a decision: either to adapt the original text or to retain as much as possible the foreign flavor of the original text”(luo xinz

51、hang,1984).lu xuns idea expressed here was almost the same as that of schleiermachers. the only difference lies in the different attentions both theorists paid. lu xuns attention went to the source text and the target text while schleiermachers went to the source text producer and the target text re

52、aders. in china, the debates on domestication and foreignization have never stopped. however, from 1870s to 1970s, domestication was the dominant translation method. such translators as yan fu，fu lei，qian zhongshu，and yang bi are some of the important advocates. whether it is yan fus “faithfulness,

53、expressiveness and elegance” or fu leis “spiritual likeness” or qian zhongshus “conversion/ transmigration”, each of them has the same purpose of making the readers of the tl feel that the version they are reading does not read like a “translated version”, but rather, it is like a “created work”. (s

54、un zhili,2002) the exotic cultural images or expressions were often “abandoned” or “adapted” or “replaced” by chinese images and expressions which were assumed to have the same pragmatic force. for example, in yang bis translated version, readers can find that “godfather”is translated into“gan die”.

55、the english cultural symbols were changed into chinese cultural symbols. however, advocates of foreignization such as lu xun severely criticized domestication strategy. lu xun took up the position that was just opposite to domestication. he stressed that the translated version must “try to retain th

56、e foreignness” and it was the” foreignness” that would render” exotic flavor” to translation. (chen fukang,1992)during the fifteen to sixteen years after the may 4 movement, influenced by lu xun，quite a few translators began to adopt the method of foreignization in translation. on the one hand, they

57、 loaned a great number of western words and expressions. on the other hand, they also introduced into chinese some western language structures, which, to a large extent, enriched the expressions of chinese. in the last 20 years of the 20th century, foreignization began to play a dominant role in the

58、 field of translation in china and this trend has been extended till the present day. scholars like liu yingkai(1987),and sun zhili(2001),have predicted that foreignization will be the dominating translation strategy in the 21st century. they hold that foreignization will contribute to both the retention of the cultural features of the sl and the enrichment of the expressions of the tl. in this sense, foreigniz