By Yu Hou
This corpus-based learn investigates using nominalization in English translations of chinese language literary prose in the course of the research of 3 English types of the chinese language novel Hong Lou Meng (Dream of the pink Chamber).
prior stories have explored the relevance of the cultural and linguistic positioning of alternative translators, yet up to now no corpus-based research of nominalization has been undertaken when it comes to translator variety. This e-book makes use of quantitative and qualitative analyses of the nominalized remodel of finite verbal varieties in 3 Chinese-to-English translations to tell apart among translator types, concluding that nominalization is a key identifier in translations.
This booklet offers a entire photo of using nominalization in English translations of chinese language literary prose and, extra normally, encourages extra research into nominalization in translation.
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Extra resources for A Corpus-Based Study of Nominalization in Translations of Chinese Literary Prose: Three Versions of "Dream of the Red Chamber"
The translator made seventy-nine sentences explicit out of the 134-sentence source text, accounting for 59% of the total number of the source text sentences. The explicitation devices the translator applied consist of increasing the number of words, substituting with more specific words, changing personality, regrouping sentences and passages, transforming images and rhetoric devices, and so on. (3) Perego (2003), in his comparison of two Hungarian films and their Italian subtitles, found in a preliminary manner that in addition to implicitation, dialogue condensation and textual reduction, explicitation also occurred in film subtitling.
However, limited empirical research has been undertaken of the use of nominalization in translation, although there are several descriptive studies of its use in English such as Biber et al. (1999) and Wang (2003), and its use in translation among other languages such as Konsalova (2007). Finally, no corpus-based study of nominalization has been undertaken in relation to translator style, although considerable research has been undertaken to investigate a literary translator’s style. 1 This may be attributed to the fact ← 2 | 3 → that translation has been traditionally viewed as a derivative rather than a creative activity and due to the fact that the notion of style is very difficult to define even in established disciplines such as literary criticism and stylistics.
19 | 20 → (2) He (2003), in his comparative analysis of O. Henry’s The Last Leaf and its Chinese version, found that a remarkable tendency of explicitation occurred in the process of translating. The translator made seventy-nine sentences explicit out of the 134-sentence source text, accounting for 59% of the total number of the source text sentences. The explicitation devices the translator applied consist of increasing the number of words, substituting with more specific words, changing personality, regrouping sentences and passages, transforming images and rhetoric devices, and so on.