introduction

The translation process of Ulysses in China began in 1941, when Wu Xinghua first published a partial translation. In the 1970s and 1980s, scholars such as Jindi and Liu Xiangyu began to select and translate some chapters. In the early 1990s, "Qiao Xue" emerged in China, but a complete translation has not yet appeared, mainly due to the difficulty of translation. In 1994, Jin Di, Xiao Qian, and Wen Jieruo respectively published two full translations, making important contributions to the popularization and research of Ulysses in China. Liu Xiangyu began researching and translating Ulysses in the early 1980s. In 2021, after 36 years of effort, his complete translation was published by Shanghai Translation Publishing House, becoming the third complete translation in China.

Interpreting Stream with Poetry: The "Translation" of Poetic Language in Stream of Consciousness

Stream of consciousness novels showcase the characteristics of human thinking through a free associative thinking approach, with language features including "gaps" or "breaks" between meanings. When translating stream of consciousness texts, translators need to deal with the contradiction between form and spirit, using strategies such as "form does not disturb spirit" or "transforming to seek spirit" to preserve the poetic and linguistic rhythm of the original text. Liu Xiangyu's translation example demonstrates how to preserve the poetic vein and aesthetic characteristics of the original text through poetic language processing. The translator's task is to translate the poetic elements in the stream of consciousness monologue, and when encountering language differences, they should adopt the principles of "form conveys spirit", "form does not disturb spirit", and "form and spirit complement each other" to achieve the strategy of interpretation.

Translation of Incomplete Language in the Flow of Consciousness: Using Shortcomings to Address Shortcomings

In depth exploration of the phenomenon of language incompleteness in stream of consciousness literary works, taking Ulysses as an example, analyzed two forms of incompleteness: missing sentence components and missing punctuation marks. In terms of missing sentence components, stream of consciousness writers use words or phrases to express meaning, creating the artistic effect of sentence incompleteness, which is a characteristic of stream of consciousness language at the micro level. Translators need to pay attention to maintaining the incomplete form of the original text when translating, in order to convey the literary style of the stream of consciousness and the traces of the characters' psychological activities. For example, in the translation of "a sweet boy's breath", Liu successfully preserved the incomplete form and semantic connotation of the original text, while other translations changed the style of the original text through expansion. In terms of punctuation omission, stream of consciousness novels create a free and fluent narrative style by omitting punctuation marks, blurring sentence boundaries, and allowing readers to more directly feel the jumping emotions and thinking of characters. In translation, the translator should strive to be as close as possible to the language characteristics of the original text, preserving the freshness of the characters' consciousness activities, rather than blindly pursuing structural integrity or semantic fluency. When dealing with complex and lengthy sentences in Ulysses, Liu Yi adopted the ancient Chinese style stream of consciousness translation technique, successfully restoring the stylistic historical clues and stream of consciousness stylistic characteristics of the original text, reflecting the translator's language sensitivity and creativity.

Returning Flow with Flow - A "Supplementary Translation" of the Hidden Association of Consciousness Flow

Explored the translation issues of stream of consciousness language and emphasized the importance of implicit logic in stream of consciousness. Although stream of consciousness language is not logical, there is a correlation between sentences, which is the implicit logic of stream of consciousness. When translating, translators should identify and appropriately transplant this implicit logic to avoid the translation being interrupted. Meanwhile, translators also need to pay attention to cultural connections, such as the word 'no' in Ulysses, which may be associated with complex cultural factors. The translator should fully grasp these correlations to appropriately reproduce the connotation of the original text.

conclusion

The re translation of classic literary works has a driving effect on the development of translation history in China and abroad, and can prolong the dissemination time of works. The analysis of translated works should consider the dissemination basis and literary value of the work. Translators should tend to the original work, utilize the advantages of Chinese ideogram, and truly reflect the language characteristics of stream of consciousness novels. This article takes Ulysses as an example and proposes three translation dimensions: "interpretation", "reference translation", and "supplement translation", aiming to break through the limitations of binary exploration, deeply analyze the translation art of Liu Xiangyu's translation, and expand the perspective of stream of consciousness novel translation criticism.