1。2  About the Style of The Golden Notebook

The Golden Notebook is unique in that Lessing shows us the social reality by describing Anna’s pursuits and dilemma, as well as the world picture in the 1950s。 In this novel, the women, like Anna, who have strong women consciousness, long for independence and freedom in the male-dominated society。 They dare to challenge the secular and traditional society, trying to get the strength on an equal legal status with men。 It works on pulling down the existed power of a standard and renouncing the traditional standpoint that women are appendants to men as translation to original text and translator to writer。 Therefore, some studies on this novel lay stress on this point。 Feminism tries to overthrow the original patriarchal society order, thus establish a grand new equal community where the rights of women can be fully achieved and women’s voice can be clearly heard。 What’s more, Lessing made a bold reform and attempt in the form of art in order to show us the theme。 It seems that The Golden Notebook has neither coherent story line, nor the introduction, development, conflict and ending like the narrative mode of the traditional novel。 On the abandoned plot, continuity, structure and form of the order, the author converts the narrative perspective frequently。 However, there exists intriguing deep structure in the back surface of this seemingly chaotic structure。 Lessing elaborately designed and arranged a fragmented structure to show a split of the times。 At the same time, in order to perform and deepen the theme, Lessing also used dreams, montages of film footage and other artistic means。 Lessing's attempt to reveal the theme made the Golden Notebook go beyond the limitations of realism。 As a result, the novel owns the characteristics of modernism, which is full of infinite vitality。 Although the wording is not odd and uncommon, it’s flexibility brought great difficulties for translation。 As for the author, the translators try to transfer the satisfied quantity and quality of the original work into the target version, and at the same time, pay the same importance with the relationship and the ways of translating between the original and the translated one。 Whether to achieve the above four requirements or not, researchers will study the exact translating strategies as well as the marked characteristics by comparison。 

2  Literature Review

2。1  Previous Studies on Functional Equivalence 文献综述

Being the kernel of the translation theory, Functional Equivalence Theory is raised by Eugene A。 Nida——the famous linguist and translator in America。 The theory had a great influence on 20th century’s translation circle, which consists of dynamic equivalence and formal equivalence。 Formal equivalence focuses on the message itself, in both form and content。 While dynamic equivalence tries to convey the thought expressed in a source text (if necessary, at the cost of literalness, original word order, the source text’s grammatical voice, etc。)。 It lays stress on reader’s response and uses the closest natural equivalence language to reproduce the information of original text, which can make sure the target readers understand and appreciate the original text as the original readers。 The core of this theory is “functional equivalence”, that is to say, translation is not to demand the  correspondence of the surface, but to achieve functional equivalence between two languages。 During translation, the translator should pay attention to the stress on the content and the response of the readers to convey the information and realize communication function (Nida, 2004)。 It’s considered that there are three general translation principles to be followed in order to get Functional Equivalence translation: Natural language, Priority of meaning over form and Arousing equivalent responses。 To make a standard for the conversion between source language and target language and reduce the difference, Nida put forward the famous “dynamic equivalence” in terms of the nature of translation。 In this theory, he pointed out that translation was to use the most appropriate, natural and equivalency language to reproduce the content of source language from semantics to style。 And “dynamic equivalence” contains four aspects: Lexical Equivalence, Syntactic Equivalence, Textual Equivalence and Style Equivalence, in which Nida regarded meaning as the more important part than form。 Generally, form may cover the cultural meaning of source language and hinder the cultural communication。 Therefore, according to Nida’s translation theory, the translator should take the four parts of dynamic equivalence as translation principles to reproduce the cultural connotation of the source language in the target language accurately。 There are four basic processes to be followed in translation: firstly, the original work should be fully studied; secondly, translate the original one to the intended one; thirdly, adjust the translated one; and last, check the translation by the intended audience。 This four translation process involves a comparison of source language and receptor language, and functional equivalence should be fully considered during interlingual transference。 Just like Tang Yi Lang said, Functional Equivalence theory, a theory put forward at an early age, may be confronted with some doubts in today’s world which is filled with fast-developing variety of translation theories, however, it still has the meaning of existence and value of application。 A right way to measure the translation’s quality is to compare equivalent degrees of its form, content, function, meaning, style with those of the original one’s (Tang, 2008)。