%0 Journal Article
%T Translator¡¯s (In)visibility in the Chinese Translation of <i>Eat, Pray, Love</i>
%A Jingjing Zhang
%J Open Access Library Journal
%V 8
%N 12
%P 1-8
%@ 2333-9721
%D 2021
%I Open Access Library
%R 10.4236/oalib.1108192
%X The term <i>invisibility</i> was first defined by Lawrence Venuti to ¡°describe the translator¡¯s situation and activity in contemporary Anglo-American culture¡± (Venuti, 1995/2004) in his book <i>The Translator¡¯s Invisibility: A History of Translation</i>. What he put forward together with this term were the two types of translation: domestication and foreignization, which are ¡°culturally variable and historically contingent¡± rather than in a binary opposition. Drawing on the Chinese translation (¡¶ÃÀʳ£¬Æíµ»£¬Áµ°®¡·) of an American memoir <i>Eat, Pray, Love</i>, this essay elaborates on the translator¡¯s visibility and invisibility from both linguistic (lexical and syntactic) and cultural perspectives with analysis on examples. In this absorbing Chinese version, the translator tends to be <i>invisible</i> at syntactic level while <i>visible</i> in relation to cultural perspective as it is easy to follow although ¡°highlights the foreign identity of the ST¡± (Munday, 2018). The translator could represent the foreignness of the source text in his/her own way, choosing to be either visible or invisible in translation. The case study also suggests that a foreignized translated work, with less idiomatic expressions from linguistic perspective, compared with domesticated translation, can be widely accepted as well as a domesticated one. I hope that the finding of the research may provide a reference to translators and researchers on literary translation and translator¡¯s subjectivity.
%K (In)visibility
%K Linguistic Perspective
%K Cultural Perspective
%K Eat
%K Pray
%K Love
%U http://www.oalib.com/paper/6765756