Feminist Interpretation Of The Intertextuality: A Case Study Of Elieen Chang’s Jin Suo Ji And Her Self-translation The Golden Cangue

In late1960s, the term "intertextuality" was first put forward by the French semiologist and feminist critic Julia Kristeva and later developed by Roland Barthes, Jaques Derrida, Gerard Genette, and Norman Fairclough. Intertextuality was divided into different layers according to various criteria. Among them, Norman Fairclough divided intertextuality into manifest intertextuality and constitutive intertextuality. Manifest intertextuality refers to the certain words, expressions, even paragraphs in a text that are related to that in others, which takes the form of allusion and archetype, collage, parody, citation, metaphor. Constitutive intertextuality refers to the affection of a literary work from others in the aspects of theme, writing techniques, criterion, form and etc.In the early1990s, intertextuality was introduced into translation studies, bringing a new perspective to the field. The theory of intertextuality is formally introduced into translation studies by Basil Hatim&Ian Mason in their collaborative work Discourse and Translation for the first time.Jin Suoji, under the spotlight was known as "the most excellent medium-length novel in Contemporary Literature of China" and "one of the most beautiful literary harvest". The English version The Golden Cangue was translated by the writer Eileen Chang herself and collected in Hsia Chih-Tsing’ Twentieth-century Chinese Stories, which was published by NY Columbia University Press in1971.The present study is a case study which mainly uses literature study, example illustration, descriptive research methods respectively. From the perspective of feminism, it interpreted the intertextuality between Jin Suoji and its English version The Golden Cangue in terms of cultural image, translation strategies and the theme.Through the analysis, the following conclusions are drawn:1. Between the source text Jin SuoJi and target text The Golden Cangue, there are both manifest intertextuality and constitutive intertextuality. The thesis commences with key notions of intertextuality, including text, texture, textuality and intertextuality, and illustrates the essential relationship among them. Meanwhile, the thesis proceeds with introducing the classified manifest intertextuality and constitutive intertextuality, both of which are reflected in the target text The Golden Cangue.2. The intertextuality is rich, dynamic, yet complicated between the source text Jin SuoJi and target text The Golden Cangue. The various types of intertextuality lie in both points and planes. On one hand, the point layer reflected from both material culture image and social culture image, which in the meantime emphasized translators’ subjectivity. On the other hand, the planes layer reflected from reproduction of female identity, which is the theme of the source text.The thesis consists of six chapters. The first chapter mainly introduces research background, purpose and significance of the research, and structure of the thesis. hi the second chapter, based on the review of previous research, the necessity of the present research is stated. The third chapter is the theoretical foundation applied in the research, including Intertextuality and Feminist Translation Theory. The fourth chapter includes four parts, which are research questions, research method, and research procedure. The fifth chapter is the main body of the thesis, in which the intertextuality between Jin Suoji and The Golden Cangue was explored. In the last chapter, conclusions and limitations are listed briefly.