On The Reproduction Of The Original Style In The Chinese Version Of The Sound And The Fury By Li Wenjun

Since the1980’s, the American modernist writer William Faulkner’s works havebecome popular in China’s academic society. Researches and studies on histranslations gradually increased. However, most of the studies conducted theperspective of literary style in general, and studies from the perspective of translationwere absent. The reason for the shortage lies in their difficulty and obscurity in theoriginal works. Therefore, it is necessary to make a thorough analysis on thetranslation quality of Faulkner’s representative work The Sound and the Fury by LiWenjun who was the sole translator in Mainland of China. This study attempts toenrich the existing literary studies, and help to clarify some problems in thetranslation of literary style.In this study, we mainly carry out a comparative textual analysis of thetranslation in the context of its counterpart with a focus on the reproduction of thestylistic features, which constitute the major part. The dynamic equivalence putforward by Eugene Nida and Liu Miqing’s theory about stylistic markers, which focuson content and language of the translation, attempt to investigate Li Wenjun’s effortsin the process of stylistic reproduction. The paper hopes to provide means to measurethe quality of translation with some objective criteria: dynamic equivalence principleand readers’ responses.On the basis of the comparative analysis a conclusion is drawn that Mr. LiWenjun has basically kept the original style features in his translation, no matter incontent and in form. The translation is of high quality even though it does have someflaws, like providing too many annotations. The study also notes that style writing istranslatable and must be translated; Nida’s dynamic equivalence and Liu Miqing’stheory concerning stylistic markers can be applied to literary translation positively.The findings in this study have some practical significance to future literarytranslations.