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AbstractNowadays many people outside China become more and more interested in Chinese culture and literature, because of the international trading and communication. But grow and developed under totally different background, the linguistic system is totally different for people from different background, which makes readers find it difficult to engage themselves into the splendid culture. I think it is always a barrier for each other to understanding different cultures. So the literary translation is always a hot topic in the field.For further discussion, among the difficulties in literary translation, one of the big issues falls into the prose translation, among which the reproduction of its style during the translation process is also a challenge. On the above basis, this thesis will discuss whether the prose style is translatable or not, and probe into the approaches to reproducing prose style.ContentI.INTRODUCTION.............................................................................................. 错误！未定义书签。

II. INTRODUCTION OF CONGCONG AND STYLISTIC ANALYSIS OF THE TWOTRANSLATORS .................................................................................................. 错误！未定义书签。

(一)(二)(三) INTRODUCTION OF THE WRITER .................................................. 错误！未定义书签。

INTRODUCTION OF CONGCONG .................................................... 错误！未定义书签。

STYLISTIC ANALYSIS OF TWO TRANSLATORS .......................... 错误！未定义书签。

III. PROSE TRANSLATION THEORY FOR STYLE REPRODUCTION ... 错误！未定义书签。

(一)(二)(三) WORD BY WORD OR THOUGHT BY THOUGHT .......................... 错误！未定义书签。

USING TONE IN TRANSLATION ........................................................ 错误！未定义书签。

ADOPTION OF RHETORIC SPEECH ................................................ 错误！未定义书签。

IV. A COMPARISON BETWEEN THE TWO ENGLISH VERSIONS OF CONGCONG错误！未定义书签。

(一)(二) DECISIONS AT THE CHOICE OF WORDS ....................................... 错误！未定义书签。

USAGE OF RHETORIC SPEECH ........................................................ 错误！未定义书签。

V.CONCLUSION ................................................................................................. 错误！未定义书签。

VI.REFERENCES ................................................................................................ 错误！未定义书签。

Case Study on Style Reproduction of the Prose Translation: Comparison between the English Versions of Congcong byZhu, Chunshen and Zhang, Peiji1. IntroductionAs China is undergoing fast-paced changes into a prospective political and economic power all these years, more and more people abroad are becoming interested in Chinese language and Chinese culture. The profound eastern civilization in China leaves deep impression on those who have come to China or heard of it. Among the numerous cultural heritages, Chinese literature plays an important part as a bridge in mutual communication between the East and the West. Hence, under this circumstance, the Chinese literature has been a hot icon in modern world nowadays. However, readers sometimes find it difficult to totally indulge them in the splendid Chinese culture on account of the different linguistic system and cultural background, which is always a barrier for each other to understanding different cultures. Thus, people should realize the i mportance of the literary translation and spare no efforts to make Chinese culture “going out”.For further discussion, among the difficulties in literary translation, one of the big issues falls into the prose translation, among which the reproduction of its style during the translation process is also a challenge. On the above basis, this thesis will discuss whether the prose style is translatable or not, and probe into the approaches to reproducing prose style.Therefore, this thesis will be divided into three parts. The first part will give a brief introduction to the well-known prose Congcong, describing its background and providing some background information about its writer and the two translators. The next part will present some prose translation theories for style reproduction, providing a theoretical basis for the following analysis of two English versions. Then, the thesis will compare the two versions from three aspects to probe into the approaches of reproducing the prosestyle, which is the most important part. Finally, a conclusion will be made based on the above analysis.2. Introduction of Congcong and Stylistic Analysis of the TwoTranslatorsProse is a lively and refined literary form; its structure is flexible and is free from rhythm. It requires concise language and careful thought to create fantastic prose. The author should focus on one point and struggle to achieve the final goal of creating his work in distributing shape with focusing on spirit. The words used in prose should be both expressive and aesthetic. Therefore, the translator should have a very good command of both target and source languages, as well as a solid foundation of translation techniques. And this thesis will have an overview of Ziqing, Zhu and his works, as well as the two translators, in order to lay groundwork for the followingstylistic analysis.2.1 Ziqing Zhu, the WriterZiqing Zhu, who was born on November 22, 1898 and died on August 12, 1948, was a renowned Chinese poet, scholar and essayist. He was appointed professor of Chinese Literature at Tsinghua University in 1925. And he studied English literature and linguistics in London from 1931 to 1932.He began his poem writing during his teaching in university and created Destruction in 1923, which had a profound influence on the public at that era. Later he began to commit to the study of classic literature and prose writing. When he stayed in Tsinghua University as a professor in 1928, the first edition of his collected essays Retreating Figure came into publication, making him a famous essayist. During the 1920s, when the May Fourth Movement took place then, he became one of the several pioneers of modernism in China.Mr. Zhu was a prolific writer of both prose and poetry, but he was best known for his essays like Retreating Figure, and NiWo. His best known work in verse is the long poem Destruction.In his book Translation Aesthetics , Mao Ronggui(毛荣贵) states that the pursuit of “reality” is the core of Mr. Ziqing?s goal in his prose writing. He tries to describ e things with genuine feelings, expressing his own thoughts and feelings, putting down what he sees and hears, and trying to achieve realistic effect. In a word, "genuine feeling" is what Mr. Zhu Ziqing always focuses on during his creation. In fact, depicting real scenery is thecrowning achievement of his artistic prose. When Mr. Zhu explores the traditional art techniques; he puts forward his own point of view about the "realistic and picturesque" issue. He says that ?realistic? is much similar to 'looking like'." He implements this "real" goal in the process of prose creation. He writes about people, materials and things that exist or happen in daily life, in order to get the effect that readers are able to imagine they are just in the spot, what you read is like something you see or hear by your own.The second feature of Mr. Zhu Ziqing?s prose is that readers are easily moved by his unique impressive power. At first glance of those essays, you may think of the works as simple, brief, yet they are fully realized work. It contains no profound philosophy, neither does it lavish praise on some great achievements, most of the main characters in Mr. Zhu?s prose are ordinary family members, friends, but all the feelings conveyed in the prose is something most of us want to share with others, so all of them can catch readers? eyes by the magical describing power. The art influence of his prose results from his realistic emotion and subtle observation of daily life.In late years of Zhu Ziqing?s life, he is much inclined to use colloquial language in his prose, intending to form his own effective expressive means in spoken language. Mr. Ye Shengtao once comments on Zhu?s writing style as this: "His words are becoming more and more carefully neat and refined, but still very plain and simple, if you read his work, you will feel like just sitting with him face to face and listening to his thoughts and feelings." (辛春晖,45).If you want to understand his works, youshould combine sincere feelings, rich emotion, beauty of simplicity, together with the delicate idea about the layout of the works, in order to appreciate the hidden beauty and deep emotion in and between the lines.2.2 An introduction to CongcongCongcong, one of Mr. Zhu Ziqing?s well-known essays, was written in March, 1922. The time fell into the ebb-tide period of “May Fourth Movement”. Mr. Zhu Ziqing felt very disappointed at the situation, and the reality ceaselessly added sad feeling to him. However, Mr. Zhu still held a positive attitude toward the outside world, never allowing himself to give in to the reality or addicted to the aimless wandering. He always insisted on his position and pursued in an unremitting manner. Xiao Xiaoyan (肖小燕) in her article “The successful reproduction of poeticized language—a case study of Congcong”, discusses that Mr. Zhu Ziqing thinks every moment has its own meaning and value at its instant. In the long course of time, every instant has its own location. Therefore, he should tread on the earth one step after another, and leave his footprints profoundly for the sake of an instant satisfaction. Throughout the whole prose, Mr. Zhu wants to express his griefand indignation in a sorrowful tone, which also reflects the common feelings of the educated urban youth during the ebb-tide period.Congcong is Mr. Zhu?s spontaneous exposure of feelings. The vernal scenery in front of his eyes triggers off strong feelings, which is manifested by imagination. As Shakespeare depicts in “A Midsummer Night's Dream” imagination can shape unknown things, which can be more intact by poet?s pen. The poet transforms entirely imaginary time and abstract concept to normal phenomena, then along with his emotions, the poet chooses and pursues vivid image. Incessant images on his mind change from shapelessness to shape, from faintness to vividness.2.3 Stylistic Analysis of Two TranslatorsEvery piece of work bears its won style, which means not only the mode of expression or forms, but also the temperament and charm of the writer which is shown in his work. A translator has his own style as well, because each process of translation can also be reviewed as a process of recreation, as Mr. Zhu Chunshen and Zhang Peiji are both well-known translators in modern China, this thesis will have a stylistic analysis of the two translators, in order to have a deep understanding of literary translation and style reproduction of prose.2.3.1 An Introduction to Mr. Peiji, ZhangMr. Zhang Peiji was born in Fujian, 1921. In his early days, he migrated to Shanghai, where he received elementary and secondary education. Mr. Zhang studied British literature in Shanghai St. John's University from 1945. And then he further studied British literature in Indiana University, America. When socialist China wasentbacktohismotherland.Mr.ZhangPeijiwasonly28yearsoldthen.In1955,heworkedinP eople'sLiberationArmyUniversityofForeignLanguages.Then,heworkedasatranslationfounded in 1949, he resolutely went back to his motherland. Mr. Zhang Peiji was only 28 years old then. In 1955, he worked in People's Liberation Army University of Foreign Languages. Then, he worked as a translation teacher in University of InternationalBusiness and Economics, and retired in 1991. Throughout his life, he devoted all his time and energy to the development of Chinese translation.After long-term research, Mr. Zhang Peiji finds out that human beings prefer to use concise language, so he is very cautious in using proper form of words during his translation, trying to express the original meaning in concise language as well as maintaining the original flavor. Trying to be faithful is one of his translation characteristics. Mr. Zhang Peiji focuses on the original work, always taking the overall situation into consideration during translation, and has a thorough understanding of the translated work. Here we can see his translation characteristics through the examples shown below:1. 这尊塑像站了几百年了，他觉得这是一种苦役。