On the Construction of Translation Background of Alice in Wonderland

Based on a broad view of construction, this paper discusses how Mr. Zhao Yuanren coordinated the narrative features in Alice in Wonderland and constructed the narrative in the target language context, thus showing that translation was carried out in a certain social context and its influence on the society at that time.

Keywords: construction and framework: literary translation of Alice in Wonderland

"Construction"-gofman believes that it is a positive process for participants to express their opinions and take practical actions when they gradually realize the nature of the activities they are participating in and how the speakers express their ideas (1974: 345). Construction can be understood through frames and frames. Participants' awareness of the nature of the activities they are participating in and how the speaker expresses his ideas is framed (tannen &; Wallat 1993: 60), and the frame is defined as the expected horizon, which is a strategic step taken to consciously present a movement or position from a certain angle. The construction process is further understood as providing "a set of mechanisms through which individuals can establish ideological ties with sports goals and become potential contacts of sports" (Cunningham &；; Browse 2004: 348).

Translation itself can be regarded as a structure, both literally and figuratively. Muhavi believes that translation is "not only an interpretative construction, but also a function that includes various interpretative constructions" (Muhavi, 2006). This paper defines construction as an active mediation strategy, through which people consciously participate in the construction of reality. The understandability and reversal of specific stories change with time and culture. As Bruner pointed out, the standardization of narrative "is not the end of history and culture." Its form changes with the times and its environment "(199 1: 16). Translators usually pay attention to reporting the original text as an easy-to-understand translation, but at the same time retain some deviations that are integrated into it. The translator's reconstruction strategies mainly include the construction of time and space, the selective use of text materials, the construction of markers and the relocation of character events.

China in the early 20th century was a turbulent time. After the semi-colonial and semi-feudal countries succeeded in the Revolution of 1911, intellectuals were full of blood and eager to save the country, and launched the vigorous New Culture Movement and the May 4th Movement. They saw China's backward, ignorant and decadent education, tried to pin their hopes on science and democracy, and hoped to introduce advanced western cultural ideas through translation to enlighten and awaken backwardness and ignorance. Zheng Zhenduo mentioned in "Analysis of Children's Books in China": "Old-style education in China is a sinful thing, which has no other purpose and use except maintaining traditional authority and ethics." Therefore, there are many children's books in the literary works translated during this period, most of which are enlightening and educational. Scholars hope to enlighten children's minds and change China's old-fashioned children's education by translating foreign children's literature. The requirements of children's literature translation are mainly aimed at children's reading, which can make children interested in understanding and contacting foreign cultures, broaden their horizons, set lofty ideal goals, strive for strength and revitalize China.

First, the construction of time and space

Space-time construction is to select a text and put it in another space-time context. Although it may be different from the original space-time context, the new context will make the narrative of the text more prominent and guide readers to relate it to the narrative in real life. In Zhao's translation of Alice in Wonderland, vernacular Chinese is used to reproduce the original text, while classical Chinese is abandoned. The translation broke away from the old cultural model and was placed at the height of new culture. It boldly tried to adopt a new style, which highlighted the author's adaptation to the trend of the times and promoted the modernization of China language.

In China in the 20th century, many foreign children's books were translated into classical Chinese. Zhou Zuoren once strongly criticized Chen Jialin and Chen's translation of Nine Times Out of Ten, saying that they "turned children's language into ancient prose for everyone" and "couldn't help shouting for the author". Mons Baker believes that "only through the construction (or reconstruction) of space and/or time can we highlight or dilute the narrative position". (Monsbaker 2011:172) Some translators use ancient Chinese to reproduce foreign children's literature, which supports and maintains the old traditional way. Due to the needs of social reform and development at that time, vernacular Chinese is close to spoken language and easy to understand, which is a good medium for children to accept new knowledge and new ideas. He himself thinks that "this book is difficult to be translated into the spirit of enlightenment without China style, so this translation can be used as a material to judge the success or failure of style." (1988: 10) This shows that Zhao Yuanren not only considered the trend of the times at that time, but also believed that readers should be children, and paid more attention to the presentation effect of the translation itself and children's reading ability.

Second, the selective use of text materials

The selective use of text materials is to suppress, emphasize or lay out some aspects of the narrative implied in the original or higher-level narrative, which can be realized by omission and addition. For example,

1. Original: "I know!" Alice cried eagerly. "You take some flour-"

"Where did you pick the flowers?" White Queen asked. "In the garden or in the hedge?"

Alice quickly said, "Then I know! You have to eat some noodles first-"

Then White Queen said, "Noodles or Daoxiao Noodles? Wide or thin? "

In the original text, "Hua" and "Hua" are joking with the help of homophones. Where did you pick the flowers, in the garden or under the hedge? And the translation is "vermicelli or Daoxiao Noodles? Wide or thin? " It is obvious that White Queen's answer was omitted. If translated according to the original meaning, it will not only make readers feel that the contextual meaning is incoherent, but also make people difficult to understand. Through direct ellipsis and translation, not only the context is coherent but also the image is vivid, which is convenient for readers to accept and appreciate the new foreign culture.

For another example, in order to maintain the style and charm of the original text and make readers feel more attractive and interesting of foreign culture, the author has increased the content of translation. Examples are as follows.

We call him tortoise because he teaches us.

We call the old tortoise forgetful because he always forgets the lessons he taught us.

There is no meaning of "always forgetting to teach us" in the original text, but by adding this sentence, "always forgetting to teach us" and "always forgetting" are closely linked, and the charm of rhyming words "tortoise" and "taught us" with different meanings in the original text is fully expressed in Chinese, which emphasizes that the author can fully express the homophonic effect of the original text.

Third, the marking structure.

Markedness refers to the use of words, expressions or phrases in narrative to identify people, places, groups, events and other key elements. All such speech processes are called markedness. In the book Here translated by Zhao, the names of animals such as Bill, Dormouse, Gryphon, and March Rabbit are first translated into the names of animals such as Sir Bobby, Idle Mouse, Bone Laifeng, and March Rabbit, which not only makes children clearly know what animals they are, but also highlights the characteristics of animals. Moreover, these names are spoken words, which are catchy to read and can fully arouse children's enthusiasm and curiosity. Secondly, onomatopoeic words, such as "pattering" on the stairs, are described as "reaching the goal"; Dishes crash into crackles, pigeons fly into swish, and so on, which vividly combines various states, actions and sounds to vividly describe the story. Moreover, the appearance of many overlapping words in the text, such as "talking and playing", "eating cake seriously", "White rabbit is very picky about clothes" and "complaining about being sent around by others", conforms to children's behavioral rhythm and tends to repeat oral expressions, and is more suitable for children to read. The translation of these animal names, onomatopoeia words and overlapping words are all signs of building children's books, which fully reflects Mr. Zhao Yuanren's interest in children's books from the perspective of children's expectation.