第頁蒙娜貝克敘事理論下《慶余年》中華文化英譯策略研究摘要在全球化深入發(fā)展與“一帶一路”倡議的背景下，中國文藝作品乘著時代的東風(fēng)，積極“出?！?，成為新時代傳播中國文化的重要橋梁。其中，中國的影視作品以鮮明獨特的文化風(fēng)格和獨樹一幟的故事素材深受海外觀眾喜愛。在影視劇對外傳播的過程當(dāng)中，如何保留中華文化的獨特色彩，同時易于海外觀眾理解，成為影視翻譯的關(guān)鍵難題。蒙娜·貝克（MonaBaker）的敘事理論從敘事的新角度出發(fā)，探究翻譯如何在作品對外傳播的過程中發(fā)揮其獨特的再建構(gòu)作用，能夠為影視作品的英譯帶來新的思考。本研究基于蒙娜·貝克的敘事理論，以海外熱播電視劇《慶余年》為例，探討其英譯中中國文化元素的翻譯策略。研究聚焦于四大敘事重構(gòu)策略——時空建構(gòu)、文本素材選擇性采用、標(biāo)志性建構(gòu)與參與者重新定位，分析翻譯如何在新敘事框架下實現(xiàn)中國文化重構(gòu)。案例分析表明，對文化負(fù)載詞采用音譯加注釋、對劇名進(jìn)行文化適應(yīng)性改編、保留語言風(fēng)格對比等策略，有效跨越了文化差異的鴻溝，實現(xiàn)跨文化交流傳播。本研究不僅拓寬了敘事理論在影視翻譯領(lǐng)域的應(yīng)用范圍，為影視翻譯研究提供了新的理論支撐；也為未來的影視翻譯提供了具體英譯方法，從實踐層面為促進(jìn)中國文化國際傳播提供了可行性策略，明晰了未來發(fā)展的方向。關(guān)鍵詞：蒙娜·貝克敘事理論；影視翻譯；中華文化元素；翻譯策略；《慶余年》EnglishTranslationStrategiesforChineseCulturalElementsinJoyinLifefromthePerspectiveofMonaBaker’sNarrativeTheoryAbstractInthecontextofdeepeningglobalizationandthe“BeltandRoadInitiative,”Chineseliteraryandartisticworkshaveactivelyembracedtheopportunitiesofthetimesto“goglobal,”servingasavitalbridgefordisseminatingChinesecultureinthenewera.Amongthese,Chinesefilmandtelevisionworkshavereceivedsignificantappreciationfrominternationalaudiencesduetotheirdistinctiveculturalcharacteristicsanduniquenarrativematerials.Intheprocessofdisseminatingtheseworksoverseas,acentralchallengeintranslationliesinpreservingtheuniqueessenceofChineseculturewhileensuringaccessibilityforforeignviewers.MonaBaker'snarrativetheory,whichexaminestranslationfromanovelnarrativeperspective,illustrateshowtranslationcanserveasareconstructiveforceduringcross-culturaltransmission,offeringvaluableinsightsintotheEnglishtranslationofChinesefilmandtelevisionworks.GroundedinMonaBaker'snarrativetheory,thisstudytakesthedramaJoyofLifeasacasestudytoinvestigatethetranslationstrategiesemployedforChineseculturalelementsinitsEnglishversion.Theresearchfocusesonfourkeynarrativereframingstrategies—temporalandspatialconstruction,selectiveappropriationoftextualmaterial,framingbylabelling,repositioningofparticipants—toanalyzehowtranslationreframesChineseculturewithinanewnarrativeframework.Thecaseanalysisdemonstratesthatstrategiessuchastransliterationwithannotationsforculture-loadedterms,culturallyadaptivetitleadaptations,andpreservationofstylisticcontrastseffectivelybridgeculturalgapsandenhancecross-culturalcommunicationanddissemination.Thisresearchnotonlyextendstheapplicationofnarrativetheoryintelevisiontranslation,offeringnoveltheoreticalfoundationforthisfield;butalsoprovidesconcretestrategiesfortheEnglishtranslationoftelevisionworks,contributingpracticalandfeasibleapproachestopromotetheinternationaldisseminationofChineseculturewhileclarifyingthepathforfuturedevelopment.Keywords:MonaBaker’sNarrativeTheory;TelevisionTranslation;ChineseCulturalElements;TranslationStrategies;JoyOfLifeContentsAbstract IIContents IIIChapterOneIntroduction 11.1ResearchBackground 11.2ResearchPurposesandSignificance 21.3ResearchQuestions 21.4LayoutofthePaper 3ChapterTwoLiteratureReview 42.1CurrentResearchonMonaBaker’sNarrativeTheory 42.2CurrentResearchonCulturalDisseminationinFilmandTelevisionTranslation 52.3CurrentResearchontheEnglishTranslationofJoyofLife 7ChapterThreeTheoreticalFramework 93.1OverviewofMonaBaker’sNarrativeTheory 93.2ATypologyofNarrative 103.3FramingNarrativesinTranslation 12ChapterFourNarrativeReframingofChineseCultureintheEnglishTranslationofJoyofLife 144.1TemporalandSpatialConstruction 144.1.1The“Present”TemporalandSpatialContext 144.1.2The“Present”TemporalandSpatialContextintheEnglishTranslationofJoyofLife 154.2SelectiveAppropriationofTextualMaterial 174.2.1TypicalSelectionofTextualMaterialinJoyofLife 174.2.2SelectiveTranslationofInscriptionsonStoneTablet 174.3FramingbyLabelling 204.3.1LabelFraminginJoyofLife 204.3.2EnglishTranslationofTitlesandNames 214.4RepositioningofParticipants 234.4.1RepositioninginJoyofLife 234.4.2EnglishTranslationofInnerMonologuesandVerbalSlips 23ChapterFiveDiscussion 265.1TranslationStrategiesforNarrativeReframinginJoyofLife 265.2ImplicationsfortheDisseminationofChineseCulturethroughTranslation 27ChapterSixConclusion 29Bibliography 31IntroductionCurrently,drivenbysupportivepolicies,China'sfilmandtelevisionindustryisexperiencingrobustgrowthintheinternationalmarket.NumerousoutstandingTVserieshavebeenproduced,includingJoyofLife,adramacenteredonancientpoliticalintrigues.Thischapteraimstointroducethebackgroundofthecasesandtheoriesrelevanttothisstudy.Basedonthiscontext,theresearchobjectivesandsignificancewillbearticulated,alongwiththekeyquestionsthispaperseekstoaddress.Additionally,thespecificstructureandcontentarrangementofthisresearchwillbeelaboratedupon.1.1ResearchBackgroundThankstothedeepeningofglobalization,thepromotionofChinesecultureabroad,andthe“BeltandRoad”initiative(Wang,Zhou,&Zhang,2019:38),Chinesefilmandtelevisiontranslationhasencounteredsignificantdevelopmentopportunities.Filmandtelevisiontranslationisgraduallybecomingabridgeforcross-culturalcommunication.Audiencesfromdifferentcountriesandculturescanappreciatecinematicworksthatshowcasedifferentculturalcharacteristics,whichundoubtedlyfacilitatesculturalexchangeandintegrationonaninternationalscale.Therefore,howtoeffectivelycarryoutfilmandtelevisiontranslationtopromoteadeeperandbroaderdisseminationofChineseculturehasbecomeoneofthekeytopicsdiscussedincontemporaryacademiccircles.ThewebseriesJoyofLife,adaptedfromMaoNi’snovelofthesamename,hasgainedsignificantpopularitybothdomesticallyandinternationally.In2024,JoyofLife(Season2)wasreleased,achievinghighviewershipshortlyafteritslaunch.DataindicatesthatthisserieshasbecomethemostpopularChinesedramaonDisney+followingitsrelease.Additionally,onplatformssuchasYouTubeandViki,itgarneredsubstantialviewsonitspremiereday,indicatingahugeinternationalfanbase.ManyviewershavebeguntoexploreChineseculturethroughthisseries(Wang,2023).Asoneoftheprominenttelevisionworksin2024,studyingthetranslationofJoyofLifeholdsconsiderablesignificance.Throughtranslation,thereisanopportunitytodisseminateexcellenttraditionalChinesecultureandenhanceoverseasaudiences’understandingandappreciationofChineseculturalbeauty.MonaBaker'snarrativetheoryexploresthedefinitionsandcharacteristicsofvarioustypesofnarratives.Itinnovativelypositsthattranslationisaformofreframingandoutlinesfourkeymethodsthroughwhichtranslationcanconstructnarratives.Thistheoryoffersanoveltheoreticalframeworkforstudyingtranslation,particularlyinthecontextoffilmandtelevisiontranslationasaformofpublicnarrative.Basedonthistheory,thispaperwillfurtherinvestigatefromanarrativeperspectivethespecificEnglishtranslationstrategiesemployedinthetranslationofJoyofLife.ThesestrategiesfacilitatethereconstructionofChineseculturewithinanewnarrativeframeworkandenablecross-culturalcommunicationbetweendifferentnarratives.1.2ResearchPurposesandSignificanceThisresearch,groundedinanoveltheoreticalperspective,systematicallysummarizesthesuccessfulpracticesoftranslatingoutstandingcontemporaryTVdramasintoEnglish.ItaimstooffereffectiveandpracticalmethodologicalinsightsforfutureChinesefilmandtelevisiontranslation,therebyenhancingtheinternationaldisseminationofChineseculture.Ithasthefollowingsignificance:Theoretically,thisstudyappliesMonaBaker'snarrativetheorytotheEnglishtranslationofJoyofLife,withtheaimofextendingtheapplicationofnarrativetheoryintelevisiontranslation.Thelensofnarrativereconstructionalsooffersanovelperspectivefortranslationanalysis.Practically,basedonthecasestudyanalysisoftheEnglishtranslationofJoyofLife,thisstudyendeavorstosummarizetranslationstrategiesfromanarrativestandpointandfurtherrefinetheapproachesfortranslatingculturalelementsinfilmsandTVseries.ThisprovidesanactionableframeworkforthelocalizeddisseminationofChineseliteraryandartisticworksintheirglobaloutreach.1.3ResearchQuestionsBasedonnarrativetheory,thisstudyexaminestheEnglishtranslationstrategiesofChineseculturalelementsinJoyofLifeandfocusesonaddressingthefollowingquestions:1.Fromtheperspectiveofthefourkeynarrativestrategies,howdoesJoyofLifedealwiththeEnglishtranslationofChineseculturalelements?2.DuringthetranslationprocessofJoyofLife,giventhesubstantialdifferencesbetweentheoriginalnarrativeandtargetnarrative,whatspecificEnglishtranslationstrategiesorlanguagereconstructiontechniquesareutilizedtofacilitatecross-culturaladaptation?3.WhatinsightsdotheEnglishtranslationwithintheframeworkofnarrativetheoryofferforenhancingtheinternationaloutreachofChinesefilmsandtelevisionseries,aswellasimprovingtheglobaldisseminationeffectivenessofChinesecultureinthefuture?1.4LayoutofthePaperFirstly,thisresearchwillsystematicallyelaborateonitsTheoreticalBasis.Specifically,itwillintroducethecoreconceptsofMonaBaker'snarrativetheory,includingtheclassificationofnarrativetypesandthefourprimarystrategiesforconstructingnarrativesbytranslation.ThistheoreticalframeworkwillproviderobustsupportfortheEnglishtranslationstudyofJoyofLife.Secondly,basedontheestablishedtheoreticalfoundation,athoroughandsystematicanalysisoftheselectedcase—theEnglishtranslationofJoyofLife—willbeconducted.Byexaminingthetranslationofspecificplotstructures,characterportrayals,andculturalnuances,thissectionaimstoexploreeffectiveapproachestoEnglishtranslationfromanarrativeperspective,therebylayingasolidgroundworkforsubsequentdiscussions.Thirdly,buildinguponboththetheoreticalframeworkandcaseanalysis,thisresearchwilldelveintoanin-depthdiscussionoftheachievementsandpotentialareasforimprovementintheEnglishtranslationofJoyofLifeusingMonaBaker'snarrativetheory.Theseinsightswillofferpracticalguidanceforfuturetranslationpractices.Additionally,thelessonslearnedfromthecaseanalysisanddiscussionswillbesynthesizedtohighlightthesignificanceoftranslationasatoolfordisseminatingChineseculture,providingvaluablereferencesforsimilartranslationendeavorsinthefuture.Finally,intheconclusionsection,thekeyfindingsofthisresearchwillbesummarized,addressingtheresearchquestionswhileunderscoringthecriticalroleoftranslationinpromotingChinesecultureglobally.Furthermore,thissectionwillproposepotentialdirectionsandprioritiesforfutureresearch,aimingtocontinuouslyadvancethedevelopmentofrelatedstudiesinthisfield.LiteratureReviewBasedontheresearchbackground,theoreticalframework,andcaseselectionofthisstudy,theliteraturereviewinthischapterisorganizedbythreekeyareas.TheseincludeareviewofMonaBaker'snarrativetheory,anexaminationofculturaldisseminationinfilmandtelevisiontranslation,andananalysisoftheEnglishtranslationresearchoftheTVseriesJoyofLife.Bysynthesizinginsightsfromthesethreeareas,theexistingresearchgapsintherelevantstudiesareidentified.Thisstudythenproposesitsinnovativecontributions,therebyclarifyingtheuniquevalueandsignificanceofthisresearch.2.1CurrentResearchonMonaBaker’sNarrativeTheoryAstheinfluenceofBaker'stheorycontinuestoexpand,anincreasingnumberofresearchersareattemptingtointegratenarrativetheorywithotherdisciplinestoexploreitspotentialapplications,likesociology,politicsandrhetoric.(e.g.,Harding,2012,2018;Guldin,2013;Frere,Al-Imam,&Aly,2021;Maatoq,2021;Sadler,2022).Harding(2012)extendsBaker'sideastoanalyzethetranslationofpoliticalspeeches,demonstratinghowtranslationscaneitherreinforceorchallengeexistingpowerdynamics.Others(e.g.,Erkazanci-Durmus,2014;Li,2017;Moindjie,&Singh,2021;Abdelgawad,2022;ang,&Ma,2023)havetriedtoapplythistheorytotheanalysisoftranslatedtextsinordertobetterunderstandtheconditionsthatmayarisewhenpeoplecommunicateindifferentculturalcontexts.Ontheotherhand,Chineseresearchesinthisfiledcanbedividedintofourparts:bookreviews,interviews,theoreticalapplications,andmacro-narrativeperspectiveanalysesintranslationstudies(Li,&Guo,2016).Inthesebookreviews,ShiYonghao(2007)pointedoutadvantagesofthistheory:perfectcombinationofcriticaltheoreticalanalysiswithabundantempiricalexample,reader-friendly,andmanyofthenarrativeexamplesshegaveareconflictsthathavecausedagreaterimpactontheinternationalcommunity,whichmakesthetheorymorevivid.WhileZhangMeifangandQianHong(2007)thoughttherearetwodeficiencies:thetheoryfocusesonpoliticalissuesandMiddleEastissues,andlacksuniversality.Moreover,thetheoryaccountsfortoomuch,andtheconnectionwithtranslationisweak.TheinterviewsprimarilyfocusonMonaBaker'selaborationofhertheoryandtheopinionofhottranslationtopics,suchasthechallengesintranslationpracticeandtheturnsintranslationstudies(Zhao&Hu,2015;Peng&Wang,2016).ThistheoryalsohasbeenwidelyadoptedintranslationstudiesinChinatoanalyzethetranslationofspecifictexts.Forinstance,YaoShuang(2019)examinedtheEnglishtranslationofTheGarlicBalladswhileYuYu(2021)focusedonJieMiHowever,mostdomesticstudiestendtoapproachEnglishtranslationsholisticallyratherthanfromaparticularperspective.Whendiscussingaspecificviewpoint,scholarsmainlyconcentrateonimagereconstructing,suchasthewomenimagesinTheChineseMazeMurder(Cui,2021)andthatinMula(Zhang&Zhang,2023);thedominantdiscoursesinTianYanLun(Li,2013);andthespatial-temporalframinginYourName(Chen,2023),fewhavestudiedthespecificpointofChinesecultureAsfortheselectionoftextgenres,domesticstudiesaremoreinclinedtothetraditionalnovels,andafewstudieschoosepoetry,news,etc.(Luo,2018;Zheng,2012),whiletherearefewstudiesonthetranslationoffilmandtelevisionsubtitles.AsastudentandfriendofMonaBaker,ChinesescholarZhaoWenjingfurtherelaboratedontheconnotationandcharacteristicsofnarrativetheoryandtheethicalissuesinvolvedintranslationfromamacroperspectiveandcombinedwithChina'suniquecontemporaryreality(Zhao,2009,2012,2014)Inconclusion,thecurrentresearchonMonnaBaker'snarrativetheoryisprimarilyfocusedontheelucidationortheapplicationofthetheoryitself.Whenemployingthistheoryfortheanalysisoftranslation,itiscommontooptforacomprehensiveanalysisoftheentiretext,withfeweranalysesconductedfromaspecificperspective,suchasculture.Theselectionoftextgenresalsotendstofavortraditionalforms(poetryandnovels),withlessemphasisonemergingformsofmedia(filmandtelevision)fortranslationanalysis.Consequently,thereisagapinresearchthatappliesnarrativetheorytoanalyzespecificaspectsoffilmandtelevisiontranslation.2.2CurrentResearchonCulturalDisseminationinFilmandTelevisionTranslationCurrentChineseresearchonculturaldisseminationinfilmandtelevisiontranslationcanbebroadlycategorizedintofourtypes:overallanalysesofspecificcases,asummaryofitssignificantcharacteristics,studiesonthephenomenonofculturaldisseminationwithinaparticulartheoreticalframework,andanalysesoftheintentionsbehindtheuseofforeignizationanddomesticationtranslationmethods.Comparedwiththeoverallanalysisofthecharacteristicsandsometranslationsuggestions(Wan,2024),theanalysisbasedonspecificfilmandtelevisioncasesismorepractical,whichcananalyzehowChinesecultureistransmittedinthetranslationprocessofthisfilmandtelevisionwork.ZhuXiao(2013)analyzedthecross-culturalcommunicationofkungfupandaandLiXiaojuan(2016)studiedthedocumentarySnapshotsofXinjiang.Furthermore,manycaseanalysesareconductedwithintheframeworkofspecifictheoriestoachieveamoresystematicandcomprehensiveunderstanding.Amongthem,functionalequivalenceandtheSkopostheoryaretwoprominentapproaches.Forinstance,SongGeandQiXuemei(2023)utilizedtranslationalspacestoanalyzeJourneytotheWest,ZhaoLihuiandQiYingzi(2018)appliedthefunctionalequivalencetheorytoanalyzeSherlock,whileWangJieandWuLing(2017)utilizeditforTitanicandUndertheHawthornTreeAdditionally,MaDi(2014)employedtheSkopostheoryinanalyzingtheEnglishtranslationofthefilmPaintedSkinandLiSong(2019)alsousedthisapproachforexplainingtheEnglishsubtitlesofMoscowDoesNotBelieveinTears.Furthermore,therearestudiesbasedonmultimodalanalysis(Wang&Huang,2020),aswellasapplicationsofschematheory(Cai,2018).Thelastcategoryisabouttranslationmethods,inwhichforeignizationanddomestication,literaltranslationandfreetranslationarediscussedmore(e.g.,Liu,2008;Duan,2012;Zeng,2015;Zhu,2016).ThelandscapeofresearchachievementsabroadmirrorsthatinChina,encompassingboththeapplicationofclassicaltheories,suchasthetheoriesofcommunicativeandsemantictranslation(Yang&Zhang,2025)andtheSkopostheory(Ying,2017),aswellastheanalysisofclassicfilmandtelevisionworkslikeNeZha(Yang&Wang,2024).Moreover,adistinctivefeatureofforeignresearchisitsemphasisonhowpoliticalandpolicyfactorsinfluenceculturaltransmissioninthecontextoffilmandtelevisiontranslation,includingcensorshipandmanipulation(e.g.,DíazCintas,2012;Fawcett,2014;Wang&Zhang,2016;Wang,2020).Therefore,thecurrentresearchonculturaldisseminationinfilmandtelevisiontranslationprimarilyfocusesonspecificcaseanalyses,byemployingpopulartheoriesforexaminationoranalyzingtranslationmethods.ScholarstendtoselectclassicworksfrombothChineseandWesterncinemafortheirstudies,withagreateremphasisonfilms.2.3CurrentResearchontheEnglishTranslationofJoyofLifeCurrentresearchonthetranslationofJoyofLifecanbecategorizedintotwomainareas:first,studiesonthetranslationoftheoriginalnovel;andsecond,variousnarrativeanalysesoftheadaptedtelevisionseries.TheEnglishtranslationstudiesconcerningthenovelinvolvepracticaltranslationactions,suchasforegroundinglanguageanalysis(Xu,2024),reportsonculture-loadedwordstranslation(Zhai,2022),andcomparativeevaluationsbetweenhumantranslationandthe“MT+LPE”Mode(Chen,2022).TherearerelativelyfewanalysesregardingtextualEnglishtranslationsavailableinmainstreammediaorauthoritativebookreviewsabroad.Followingthesuccessofthetelevisionadaptationoverseas,attentiontowardsitsEnglishversionincreasedsignificantly.Intermsofpopularitydegree,itappearsthatrecognitionandinfluencefortheTVadaptationsurpassthoseassociatedwithtranslatedversionsofthenovel(Wang,2023:200).TheresearchonthetelevisionseriesJoyofLifeisabundant.Domesticscholarsprimarilyanalyzevariousnarrativestrategies,suchasspatialnarration(Chen,2021),digitalnarration(Zhang&Tang,2022),andcross-medianarration(Tian,2020;Bai,2023).Additionally,therearestudiesguidedbyspecifictheories,includingpragmaticstheory(Hu,2021)andreceptionaestheticstheory(Xing&Gao,2021).ItisevidentthatanalyzingthetelevisionseriesJoyofLifefrommultiplenarrativeperspectivesoffersahighdegreeoffeasibility.However,thereisascarcityofnarrativeanalysisontheEnglishversionofJoyofLife,andresearchonthenarrativetransformationbetweentheChineseandEnglishversionsisalsolacking.Therefore,itbecomesapparentthatcurrentresearchonJoyofLifehascertaingaps:thereisalackofnarrativeanalysisofthenovel,aswellasadeficiencyintranslationanalysisandpost-translationnarrativetransformationanalysisoftelevisionversion.Insummary,therearevaryingdegreesofresearchgapsregardingMonaBaker'snarrativetheory,culturaldisseminationinfilmandtelevisiontranslation,andtheEnglishtranslationofJoyofLife:(1)Theapplicationofnarrativetheoryinfilmandtelevisiontranslationisrare;(2)Althoughmanytheoriesandmethodstouchuponculturaldisseminationinfilmandtelevisiontranslation,theyareoftenconcentratedandsingular,withfewemployingnarrativetheory;(3)TheEnglishtelevisionseriesJoyofLifedisseminatesdistinctChineseculturalelementsoverseas,butcurrentresearchlacksastudyonitsculturaldissemination.Therefore,thisstudyleveragesMonaBaker'snarrativetheorytoexploretheculturaldisseminationintheEnglishtranslationofJoyofLife,effectivelyfillingthegapsmentionedbefore.Itnotonlybroadenstheapplicationscopeofnarrativetheorybutalsoprovidesanewtheoreticalanalyticalperspectiveforfilmandtelevisiontranslation.Furthermore,byanalyzingculturalcommunicationthisstudyaimstosummarizingsuccessfulexperiencesandofferadviceforthefutureinternationaldisseminationofChineseculture.TheoreticalFrameworkThetheoreticalframeworkofthischapterisgroundedinMonaBaker'smonographTranslationandConflict:ANarrativeAccount.Thisworksystematicallyillustratesthereasonforchoosinganarrativeperspective,definesnarrative,categorizesitstypesandcharacteristics,andoutlinesfourmethodsforconstructingnarrativesthroughtranslation.First,thischapterprovidesanoverviewofthetheory.Next,itfocusesontwokeyaspectshighlypertinenttothethesisresearch—narrativetypesandmethodsofconstructingnarrativesthroughtranslation—fordetailedanalysis.Byexaminingthesetwocomponentsindepth,thechapteraimstoestablisharobustfoundationforapplyingthistheorytoanalyzethespecificcaseoftheEnglishtranslationofJoyofLife,therebyilluminatingtheintrinsicrelationshipandinteractionbetweentranslationandnarrative.3.1OverviewofMonaBaker’sNarrativeTheoryInherbookTranslationandConflict,MonaBaker(2006)pointedoutthat“inthisconflict-riddenandglobalizedworld,translationiscentraltotheabilityofallpartiestolegitimizetheirversionofevents”(p.1).Basedonnarrativetheory,thisbookexaminesthewaysinwhichtranslationandinterpretingfunctionincontext,andtoexplorehowthediscursivenegotiationofconflictualandcompetingnarrativesisrealizedinandthroughactsoftranslationandinterpreting.Atfirst,sheprovidedanoverviewofnarrativity,whichincludesadiscussionofthestatusandeffectsofnarrativityandadefinitionofnarrativethatprovidesthebasisforthemodelofanalysiselaboratedlater.Then,MonaBakerpresentedfourtypesofnarrativesandelaboratedoneightdistinctfeaturesofnarrativestodemonstratetheirroleinourconstructionoftherealworld.Subsequently,Bakerintroducedtheconceptofreframetodefinetranslation,thatis,translationis(re)narration,andanalyzedhowtranslatorsmodifyvariousnarrativesintheoriginaltextordiscourseduringthetranslationprocessandhowtheyparticipateintheconstructionofsocialrealityinthisprocess.Startingwiththedefinitionandcharacteristicsoftheconceptofnarrativeitself,andprogressingtotheconstructionprocessbetweendifferentnarratives(i.e.,translation),Bakerelaboratesonhertheoryindetailwhileprovidingnumerousexamplesforanalysisanddemonstration.ThroughMonaBaker'snarrativetheory,wecanuncovertheconstructionprocessoftranslationacrossdifferentlanguagesornarrativeframeworks,therebygainingacomprehensiveunderstandingofhowdoestranslationinfluencenarratives.3.2ATypologyofNarrativeBaker(2006)usedtheclassificationmethodofsocialtheoristsSomersandGibsontodividenarrativeinto“ontologicalnarratives,publicnarratives,conceptualnarrativesandmeta-narratives”(p.28),focusingontheperspectiveoftranslation,anddemonstratesthepossibilityofapplyingthistheorytotranslationstudies.Ontologicalnarrativesinvolvetherecountingofpersonalstoriesorexperiences,yetthenarratorexistswithinaspecificsocietalcontextandposition.Consequently,ontologicalnarrativesinherentlyrelyonthecollectivenarrativesembeddedintheirculturalenvironments.Oncedetachedfromtheiroriginalcontext,ontologicalnarrativesbecomechallengingtofullyrestateortranslate.Ontologicalnarrativesservetoexplainandsustaintheexistenceandevolutionofcollectivenarratives.Thus,ontologicalandcollectivenarrativesareinterdependentandmutuallyinfluential.Forindividualssuchasimmigrantswhoareabruptlyimmersedinanewculturalenvironment,theydiscoverthenecessityofadaptingtheirpersonalnarrativestoalignwiththe“collectivenarrative”ofthisnewsetting,oftenexperiencingsignificantpsychologicaldistress.Asawitnesstothisarduousprocess,translationnotonlyhighlightsthechallengesofontologicalnarrationbutalsounderscoresthesignificanceofinter-narrativetransformation.Publicnarrativeshavesomesimilaritieswiththecollectivenarrativementionedabove,itreferstostorieselaboratedbyandcirculatingamongsocialandinstitutionalformationslargerthantheindividual,suchasthefamily,religiousoreducationalinstitution,themedia,andthenation(citedinBaker,2006:33).Amongthem,MonaBaker(2006)arguedthat“l(fā)iteratureservesasoneofthemostpotentinstrumentsfordisseminatingpublicnarratives”(p.33).Intheprocessofpublicnarrativecommunication,itisinevitabletoencountertheissueofculturalcollisions,whichinturninfluencesthetransformationofpublicnarratives.Translatorsplayapivotalroleinthiscontext.Theyaretaskednotonlywithdisseminatingpublicnarrativeswithintheirowncommunitiestoensurecommunit