1802.《第二十二条军规》与《黄金时代》黑色幽默之比较.doc

XX科技学院毕业设计文献综述第二十二条军规与黄金时代黑色幽默之比较院系名称 外国语学院 专业班级 学生姓名 指导老师_ 摘 要 约瑟夫·海勒凭借第二十二条军规成为黑色幽默派最有影响的作家之一，曾深深地影响了文革后的中国文坛。王小波独特的“狂欢小说”文体在形成上很大程度便是受到了“黑色幽默”的影响。第二十二条军规和黄金时代都是中外文学批评界公认的具有黑色幽默风格的杰作，但其不同之处也是明显的。本论文从语言表层结构和作品深层意义两方面对第二十二条军规和黄金时代的黑色幽默进行对比和赏析，并进一步分析两者黑色幽默表达方式产生差异的根本原因。 关键词：第二十二条军规; 黄金时代; 黑色幽默; 约瑟夫·海勒; 王小波ABSTRACTJoseph Heller, who achieved worldwide fame with his Catch-22 as one of the most influential writers of black humor, exerted a great influence on literary creations in post-Cultural Revolution China. The formation of Xiaobo Wangs unique “revelry novel” has been influenced by “black humor” to a great extent. Catch-22 and The Golden Age are generally acknowledged as masterpieces in black humor by the critical circle both at home and abroad; however, their differences are also quite obvious. This thesis aims to undertake a contrastive study and appreciation of black humor between the two works in terms of language and content, and find out the basic reason that accounts for such differences by further analysis. Keywords: Catch-22; The Golden Age; Black Humor; Joseph Heller; Xiaobo Wang.。ContentsIntroduction.11. A Brief Account of Black Humor.22. A Brief Introduction of the Authors and Their Works.32. 1 An Overview of Joseph Heller and Catch-22.32. 2 An Overview of Xiaobo Wang and The Golden Age.43. A Contrastive Study in Terms of Language.53.1 Similarities.53.2 Differences.63.2.1 Linguistic Features in Catch-22.63.2.1.1 Repetition.63.2.1.2 Negation.73.2.1.3 Paradox.83.2.2 Linguistic Features in The Golden Age.9 3.2.2.1 Metaphor & Simile.93.2.2.2 Anti-logic.103.2.2.3 Misuse of Political Words.114. A Contrastive Study in Terms of Content.114.1 Similarities.124.1.1 The conflict between individuals and society.124.1.2 Black Humor Personage.13 4.2 Differences.144.2.1 Black Desperation.144.2.2 Grey Amusement.155. Causes for Such Differences.165.1 Joseph Hellers Philosophy Existentialism.175.1.1 A Brief Account of Existentialism.175.1.2 An Interpretation of the Existentialist Ideas in Catch-22.18 5.2 Xiaobo Wangs Philosophy Classical Liberalism & Rational Empiricism.195.2.1 A Brief Account of Classical Liberalism.205.2.2 An Interpretation of the Classical Liberalist Ideas in The Golden Age.21 5.2.3 A Brief Account of Rational Empiricism.215.2.4 An Interpretation of the Rational Empiricist Ideas in The Golden Age.22Conclusion.23Bibliography.25Introduction Tang-Song poetry is a precious gem of Chinese culture. It is the zenith of classical Chinese poetry. Compared to a gem with brilliant facets, Tang-Song poetry remains unsurpassed in the history of both Chinese and world's civilization. Tang-Song poetry marks a pinnacle of poems both for its ideological content and for its artistic accomplishments. Tang-Song poetry is not only great in quantity, but also remarkably extensive in the range of subjects, ingenious in artistry and various in metrical forms. Now that communication between nations becomes closer and wider, translation takes part of the task by narrowing and making up the differences between different languages.Consequently a large number of English translations of Tang-Song poems appear both at home and abroad. “Domestic translations are mainly done by celebrated translators and scholars like Yang Xianyi, Weng Xianliang, Xu Yuanchong etc. English versions are made abroad by W. Bynner. S.Jenyns and I.Herdan, etc”. (吴钧陶，2001:21) they give rise to a miscellaneous study on methods and aspects approached in poetry translation for better renditions.Translators of Chinese poetry can be grouped into classical school, free school and creative school. Classical school includes John A. Turner, W. J. Fletcher, Arthur Cooper, Herbert A. Giles and the well-known Chinese translator Xu Yuanchong who puts forward the “Three Beauty” principle. They pay special attention to the meter and rhyme scheme. The second school consists of the translators who translate poems in the form of free verse or prose. Army Lowell, Arthur Waley, Angus C. Graham and Witter Bynner are the representatives of the free school. They maintain that sticking to the meter and rhyme constraint will impair the meaning reproduction. They attach more importance to the transmission of the original spirit. The third school is creative school, consisting of the translators who creatively adapt the original into English. Translators in this school don't stick to original poems. Now and then, their translations are too free to be the true representation of the original. In spite of this, their translations give unprecedented popularity to Chinese poems that other schools never achieve. They succeed in displaying the charm of the Chinese poetry. Pound, the eminent Imagist, belongs to this school. He puts himself in the position of the poet by summarizing the poets thoughts and emotions. Translation is also considered as a process actualized by the translator who has his/her own subjectivity. But his/her subjectivity is closely related to the society in which he/she lives. Certain ideology and dominant poetics will definitely exert influences on an individual translator. Hence, different translators may adopt different translation strategies according to their own views or purposes.Besides, in literary translation, to bridge two cultures, some translators take the “domestication” as a way; the others take the “foreignization”. One function of translation is to promote intercultural communication which should be based on mutual respect. Communication needs bilateral efforts: the translator and the reader. Neither of the two ways alone can achieve successful communication. Therefore whether the translator should be too considerate for the reader is under discussion. In this thesis the author is also trying to have a discussion on it.1. Outlook of the Ci and Two Translators1.1 Li Yu and His YumeirenLi Yu, the Emperor of Southern Tang, was born in 937. He was gentle and did not want to become an Emperor, but after his uncle and brothers death, the throne was left for him. Though weak at controlling the country and fighting his enemies, he was an outstanding ci-poet and wrote many famous ci-poems. Li Yus ci-poetry was an overflow of feeling. Some described the luxurious court life, and some were made of blood and tears, because his life was different from others. When he was in power, he could do whatever he wanted to do. As Emperor, he was very kind. He was always kind with the people around him, to his brothers, ministers and maids in his court. The only thing he did not know was to take arms and fight against his enemy. He only knew that by giving gifts to the Song he could remain the ruling of his country. The life after the loss of his country was quite different. The Southern Tang was swallowed by the Song and that was the paradise-like lifes sudden disappearing. Though Li Yu knew the enemy was very strong, he never thought that he could lose the country. His favorite minister Xu Xuan often went to the Song to give gifts, but never warned Li Yu to take arms to fight. Li Yu believed in Xu Xuan and took no actions at all. Even when the soldiers of the Song reached his palace, he was still composing ci-poems. His tragedy also lies in that he promised that even if he was captured by the Song, he would die accompanied with his family. But even the moment came, he changed his mind. At that time, he was composing one of his ci-poems whose tune was “Immortals at the River”, which was thus an unfinished one. The contents of Li Yus ci-poems can be divided into four kinds: describing the life of an Emperor, describing the maids in the court, describing his sadness, pressure and longing for escaping and describing the last stage in his life, the most tragedy period. Yumeiren, which was composed on the authors birthdaythe 7th day of the 7th lunar month, when he was in prison, is his representative work as well as his final work. It is said it is because of this ci that Li Yu was put to death by the Song. He calls the former maids of palace to dance and drink, when the authors half drunk, he composes this ci, in which he pours out his intolerable state of mind. Through the comparison between the past and the present, this ci-poem expressed the endless sorrow of an emperor whose country was swallowed by others. The moon is as beautiful as before, the carved balustrades and marble steps havent changed either; however, the color of the building is no longer the same. Thinking about this, Li Yu wrote down his final two lines, comparing his distress as over -brimming river flowing east. By using clear、graceful、concise and lively language and with the help of rhetorical devices such as metaphor、symbolization and comparison, the poet expressed his sincere feeling accurately. No wonder that his Yumeiren was eulogized as “a song mixed with blood and tears”. (王兆鹏，2002:33)1.2 Two Translators and Their Versions Li Yus ci-poem is a brilliant gem as well as an invaluable treasure of Chinese culture. Apart from its significance in our national literature, ci-poetry occupies an unparalleled position in world literature. Therefore, many famous translators both at home and abroad have tried to translate his ci-poem. And among all his ci-poems, Yumeiren may be the most controversial one. This thesis is going to focus on two translators who have translated Yumeiren, they are Xu Zhongjie and Xu Yuanchong. These two translators must be very familiar to us. Xu Zhongjie tries his best to make Chinese ci and poems spread to other countries. Xu Yuanchong contributes greatly to translation theories and he has translated dozens of books, not only from Chinese to English and English to Chinese, but also from Chinese to French and French to Chinese. Xu Yuanchong devotes himself to translation and is well accepted by foreigners. The two versions chosen here are respectively Xu Zhongjies in 1986 and Xu Yuanchongs in 1990. Though both translators are Chinese, their versions differ a lot. The two versions are also typical, from which one could know translators translation theory well. To understand their theories in poetry translation well, a comparative study is necessary here.2. Contrastive Study of Two VersionsIn this part, a comparative study will be carried out from a linguistic perspective, first from word, then sentence format and rhyme, finally name of the melody. The comparison is aimed at exploring and studying the effect of different versions of translation by distinct translators who have different origins and backgrounds so as to see that different experiences, ideology and methodology may cause different images based on the same original text. At the same time what needs proving as well is in comparison, one translation may be superior or inferior to the other on condition that they are judged by a certain norm. However, when norm alters, result or conclusion changes along. “It is really difficult and also unreasonable for us to decide which complete English version is better, yet it doesnt mean that we are unable to identify a better translation from different aspects”. (汪榕培，1986:2)2.1 Translation of Cultural-loaded WordsTranslation is not a process of simply changing a language into another. Instead, it is the process which transforms the language expressing form in one culture into another culture. Recently, cultural transference has attracted increasing attention in the translation field with rapid development of economic and cultural exchanges in the world. Culture is closely related to language and language is the carrier of culture. How to translate culture-loaded words and expressions in literary works has been a crucial issue concerned by translators. Hu Wenzhong distinguishes culturally-loaded lexemes from non-culturally-loaded ones. His definition is “culturally-loaded lexemes are loaded with specific national culture. They are the direct or indirect reflection of national culture in the structure of lexemes”. (胡文仲，1999:64) Nida incisively points out, “in fact, difficulties arising out of difference of culture constitute the most serious problems for translators and produced the most far-reaching misunderstandings among the readers.”(Nida, 1975:78)Whe