Migration of Text and Shift of Identity: Self-Translation in the Bilingual Works of Lin Yutang, Eileen Chang, and Ha Jin By © 2017 Hui Meng PhD, University of Kansas, 2017 MA, University of Kansas, 2012 MA, Harbin Engineering University, 2003 BA, Heilongjiang University, 1997 Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Maryemma Graham Philip Barnard Susan Harris Hui Xiao J. Megan Greene Date Defended: April 26, 2017 ii The dissertation committee for Hui Meng certifies that this is the approved version of the following dissertation: Migration of Text and Shift of Identity: Self-Translation in the Bilingual Works of Lin Yutang, Eileen Chang, and Ha Jin Chair: Maryemma Graham Date Approved: April 26, 2017 iii Abstract This dissertation contends that self-translating authors, who translate their own works into other languages, serve as a locus through which to study the migrations and intersections of literature, language, culture, and identity. Driven by different Skopos, self-translators create a hybrid literature through migration of text, shifts of identity, and transference of culture. To support this hypothesis, I employ the Skopos theory to facilitate my study of historical contexts, language transfers, and employment of translation techniques of self-translations by three prominent authors from China: Lin Yutang (1895-1976), Eileen Chang (1920-1995), and Ha Jin (1956-). Studies of their literary works have been empirically well-grounded and painstakingly detailed. Yet the act of transplanting their texts into a new cultural, linguistic, and literary context has not been adequately addressed. My dissertation speaks to this significant omission. Three chapters will be taken up with the identification, explication, evaluation, and interpretation of self-translation strategies along with bilingual textual analysis of (1) Lin Yutang’s play, 子见 南子/Confucius Saw Nancy, two bilingual essays, and the novel Between Tears and Laughter (1943)/啼笑皆非; (2) Eileen Chang’s three bilingual essays and the novel(la) Golden Cangue (1943)/金锁记; and (3) Ha Jin’s short story collection, A Good Fall (2009)/落地. I argue that self-translation works not as a secondary reproduction but rather as a production in its own right, which allows these authors to take more liberties with the texts as compared to regular translators. Self-translators also have more complicated Skopos to fulfill, such as shifts of identities, expansion of literary fame, recovery of a lost audience, and battles against political censorship. iv Acknowledgements I owe the deepest gratitude to my advisor, Maryemma Graham, who is a model of incredible intellectual vigor, integrity, and generosity. The pleasure of having meetings with her, filled with critique, thrill, wit, and joy, throughout my years at the University of Kansas is beyond measure. Her generosity, open-mindedness, and scholarly rigor have never failed to welcome me bringing burgeoning ideas about my research. Her enthusiasm for serious scholarship and amazing openness to different subjects are a rare pedagogical combination which makes the whole writing process a truly joyous and rewarding experience. I thank her for her great support, steady encouragement, patient guidance, and intellectual stimulation. My committee members, Susan Harris, Philip Barnard, Xiao Hui, and Megan Greene, are keen and provocative readers as well as inspiring teachers. Susan Harris set me on a publication journey and walked me through phases of academic hurdles. Philip Barnard’s expertise on translation practice and translation studies gave my dissertation project incredible support and essential guidance. Megan Greene’s multi-disciplinary critique upon my work was inspiring and eye-opening. Xiao Hui untiringly read various versions of the drafts at their evolving stages and offered immeasurable helpful advice. The scholarly conversations during tea parties at her lovely house were inspiring and reassuring. I thank them for their exemplary scholarship and professional guidance. Many thanks go to the English Department at the University of Kansas, especially Lydia Ash, Dr. Geraldo Sousa, Dr. Joseph Harrington, Dr. Marta Caminero-Santangelo, Dr. Doreen Fowler, and Dr. Sonya Lancaster. I also thank all my Jayhawk friends, who made my years in Lawrence sweet, meaningful, and unforgettable. I thank the librarians at the University of Southern California and the University of Kansas (especially the interlibrary loan department), whose generous help made my research smooth and successful. v I am most grateful to my family for their love, trust, support, and sacrifice. My mom, Gaiyu Zhao, has always been there with her unconditional love. My son, Xiang Zhang, has been my primary source of strength, motivation, and hope. His sense of humor is the very source that inspires me to do better. My husband, Pengqi Zhang, untiringly traveled multiple times across the Pacific Ocean to keep our family together. My sister, Xu Meng, has helped me to laugh and keep perspective throughout this process of completing the dissertation. I thank all who have made me who I am today. vi Table of Contents Introduction ..................................................................................................................................... 1 Chapter One Reconciliation of Languages and Cosmopolitan Identities: Lin Yutang’s Self- Translation .................................................................................................................................... 29 Chapter Two Awkward Betweenness and Metamorphosis: Eileen Chang’s Self-Translation ..... 82 Chapter Three Belonging and Betrayal: Ha Jin’s Self-Translation in A Good Fall/《落地》 .. 136 Conclusion .................................................................................................................................. 166 Works Cited ................................................................................................................................ 170 1 Introduction Sometimes I confuse myself with my shadow and sometimes don’t. --Samuel Beckett This I conceive to be the chemical function of humor: to change the character of our thought. --Lin Yutang Between memory and reality there are awkward discrepancies. --Eileen Chang It’s hard to uproot yourself and really become yourself in another soil, but it’s also an opportunity, another kind of growth. --Ha Jin Deeply rooted in the linguistic and cultural traditions and realities, the practice of literary self-translation has become an increasingly common practice in our globalized world. Although the shift toward national languages and national literary canons in the 19th century forced self- translation to the margins of cultural production, the practice of self-translation attracted in the 20th and 21st centuries renewed critical attention spurred by the systematic theorization of translation as a disciplinary field of inquiry and the emergence on the literary scene of self- translating writers. This dissertation contends that self-translating authors, who translate their own works into other languages, serve as a locus through which to study the migrations and intersections of literature, language, culture, and identity. Driven by different Skopos, self- translators create a hybrid literature through migration of text, shift of identity, and transference of culture. To support this hypothesis, I employ the Skopos theory to facilitate my study of historical contexts, language transfers, and the employment of translation techniques of the self- translations by three prominent authors from China: Lin Yutang (1895-1976), Eileen Chang (1920-1995), and Ha Jin (1956-).1 Studies of their literary works have been empirically well- 1 According to translation scholar Shaoming Liu, self-translators in China also includes Guangzhong Yu, Weilian Ye, Mu Yang, Jingxian Wang, Cuowai Zhang, and Lu Xun, Lao She, Zhilin Bian, Qian Xiao, Taiyi Lin, Xianyong Bai, and Hualing Nie, a majority of whom are self-translating between Chinese and English, with an exception of Lu Xun who self-translates between Chinese and Japanese. 2 grounded and painstakingly detailed. Yet the act of transplanting their texts into a new cultural, linguistic, and literary context has not been adequately addressed. My dissertation speaks to this significant omission. As author/translators, self-translators are often queried about their motivations. Discussions of self-translators distinguish between those who do so for political, historical or cultural reasons and those who state no explicit reason other than their personal choice. The three Chinese writers of my study fall into the first category, all of whom have completed self- translations under distinct political circumstances from Wartime Shanghai, to World War II America, Cold War America, and post-millennium America. Lin Yutang translated Between Tears and Laughter (1943) mainly for the purpose of cultural mediation and a bitter plea for the United States to support China during WWII. In a different historical period, Chang’s self- translation was subjected to Cold War politics. Her multiple self-translated works from The Golden Cangue, besides being a method of self-criticism, became a form of editorial recycling defined by publication opportunities. Ha Jin chose to self-translate his short story collection, “A Good Fall” (2009) to restore his literary reputation