英文摘要 |
Orhan Pamuk is one of the famous Turkish writers in the world, and his works have been translated into more than forty languages. However, all the Chinese translations of his novels were not rendered from the Turkish original. In order to analyze the style of Pamuk, this thesis examines one of his notable literary works Benim Adım Kırmızı and its English, as well as Chinese translations in the light of Foregrounding Theory through examples and commentary. Pamuk’s “mixed style” not only reflects his points of view on the issue of the East and the West, but also creates the literary effects and imagery he expects. He attempts to cross the boundary of Pure Turkish derived from Turkish Language Movement, thereby creating diversified language style. The English translator Erdağ Göknar tries to create dissonant translation with the diversity of English vocabulary, such as archaisms and slangs. The aim of the article is to analyze the literary style of Pamuk himself and to examine how Göknar conveys the original’s language style in his translation. |