In all fields, everyone has dealt with papers. A thesis refers to an article that conducts research in various academic fields and describes the achievements of academic research. I believe that writing papers is a headache for many people. The following is my paper on the representation of "defamiliarization" in literary translation, hoping to help everyone.

[Paper Keywords]

Literary translation, defamiliarization, marking theme, formalism, literary criticism, literariness and artistic skills.

"abstract of the paper"

Defamiliarization is the core concept of Russian formalist literary theory and is synonymous with literariness. Defamiliarization is very important to the value of literary works. For the translator, how to treat and deal with the defamiliarization in the original text also determines the success or failure of translation. Taking marked thematic structure in literary texts as an example, this paper discusses the defamiliarization effect of literary language and its translation.

"Defamiliarization" is the core concept of Russian formalism literary criticism school, and its theoretical essence is to get rid of the "automation" state of aesthetics in a way contrary to convention or in an abnormal form, so as to approach and present reality. According to Russian formalism, defamiliarization is synonymous with literariness, and literary works without defamiliarization cannot be called literature. Writers often adopt the method of "defamiliarization" or "deviation" when creating, which violates the habit, automaticity and dullness of normal life and arouses readers' interest with a novel and unfamiliar look. However, when literary works are translated into another language, we find that translators often use "conventions" to deal with the phenomenon of "defamiliarization" in the original text, and in most cases, although this caters to the reading pleasure of some target readers, the hidden dangers can not be underestimated, such as the poetic features in the original text may be cancelled. Taking marked thematic sentences in literary texts as examples, this paper points out that in literary translation, translators should retain some linguistic features that reflect the defamiliarization of the original author.

First, the "defamiliarization" technique and its role in literature

Shklovsky, a Russian formalist, pointed out in his article Art as Technology: "Art exists to restore people's sense of life, to make people feel things, and to make stones show the texture of stones. The purpose of art is to make people feel things, not just know things. The skill of art is to make the object strange, make the form difficult and increase the difficulty and time of feeling. He also pointed out: "The process of feeling itself is the purpose of art, and the object itself is not important. "In other words, the purpose of literary creation is not to achieve a certain aesthetic comprehension, but to achieve aesthetic feelings, that is, to restore the feelings of life through reading, and to produce aesthetic pleasure in the process of this feeling, which is achieved through" defamiliarization "in the aesthetic process. Defamiliarization is of great significance to enhance the literariness of works. In English literary works, writers use a lot of defamiliarization techniques to "defame" the form and content, so that it can be felt by readers as much as possible. Similarly, in order to combat aesthetic fatigue in reading, readers will also seek novelty in the process of reading. Readers are attracted by the defamiliarization form in literary works, and at the same time, they will also explore the author's deep intention.

When talking about the theory of defamiliarization, shklovsky pointed out that poetic language is an important condition to realize the process of defamiliarization. This leads to a new problem: the connection and difference between literary language and everyday language. Shklovsky believes that "in daily life, the meaning (content) of words is the most important part, while the content of literary language is not as important as its shell (form). In literary language, expression itself is the form and the purpose, while meaning only becomes a means and irrelevant material for language games. In other words, everyday language or scientific texts focus on information transmission, while literary language focuses on aesthetics. According to Russian formalism, if daily language has signifier function (meaning of sound and arrangement) and signified function (symbolic meaning) and is dominated by signified function, then literary language is dominated by signifier function.

Roman jakobson, another core figure of Russian formalism and the founder of Prague School and American Linguistics School, pointed out that "literariness" exists in the language form of literary works. In Conclusion: Linguistics and Poetics, he put forward the theory of six elements and six functions of language. These six elements are embodied in any language communication, including speaker (speaker), addressee (addressee), context, information, contact, code and corresponding. Speech embodies six functions: when communication focuses on context, it highlights the referential function; Focus on the speaker's emphasis on emotional functions; Taking the receiver as the center, it highlights the combination; Pay attention to contact, and the communicative function (social language) is outstanding; Focusing on language symbols, metalinguistic function is dominant; Finally, only when the communication focuses on the discourse itself, the function of poetry or aesthetics is dominant. When discourse is self-centered and points to itself, its poetic function is highlighted and other practical functions are minimized. Pxso-syzHss} That is to say, although poetic language also has the function of providing information, its aesthetic function is mainly "self-reference". The stronger the poetic function of literary language, the less it points to the external realistic environment, but to the language itself and its formal factors, such as phonology, words, syntax and so on.

In fact, in China's classical poems, there are not a few people who emphasize the "sensibility" of artistic works. Han Yu replied to Liu Zheng's gobbledygook: "People don't see things in the morning and evening, but those who see things differently are * * *. What we see day and night in our old age often fails to attract our attention. However, suddenly one day, routine changes and familiar things will be presented in a completely different way, which will inevitably make our passive sense of automation active and let us know and perceive things from a brand-new and different perspective. This is the same as "defamiliarization" in Russian formalism. This kind of "deformation" is manifested in China's classical poetics as "violating common sense" and "standardizing language", striving to break the old and create the new. For example, in order to achieve "strangeness" and effect, poets often deliberately reverse and disrupt the normal order of language. For example, Wang Anshi's poem: "Pear blossoms in the courtyard, catkins in the pond are light", if it is replaced by the conventional expression "Pear blossoms in the courtyard, catkins in the pond are light", it will become a lifeless poem.

Second, marked thematic structure and defamiliarization skills

Theme structure was first proposed by Prague scholar Mataix when analyzing syntactic functions. It includes two semantic components: theme and rheme. Halliday defined theme: "Theme is the starting point of information and clauses." Theme can be divided into marked and unmarked. Generally speaking, the normal order of declarative sentences in English is SVO (subject-predicate-object), which can reduce people's cognitive difficulty. When people see the subject, they will expect the appearance of the predicate, which should be followed by the object. When the subject acts as the theme, this theme is unmarked, while other sentence components such as object, complement and adverbial act as the theme. For example, (1) Mr. Micawber's theme is talented, but he has no capital. The theme is unmarked, while (2) Mr. Micawber has talent and Mr. Micawber does not. Is marked because its word order violates the agreement. However, in literary creation, writers sometimes deliberately use marked thematic structures to make sentences have special aesthetic effects, such as revealing characters' personalities and promoting plot development. This kind of expression can often break the psychological expectation of readers, so it should also be listed as a defamiliarization method.