Another scholar interested in Eileen Chang’s translation is Yang Xue (杨雪) who proposed that Chang’s translation features multi-dimensional harmonization。 Chang pursued harmonization at various levels among different elements。 The harmonization between the translator and the writer in Chang’s self-translation is built on her attention to the female。 In her self-translated works The Golden Cangue, Stale Mates and Sprout Song, more traces of creation can be found except The Golden Cangue。 Her rewriting is not freewheeling but for a specific purpose。 The most important issue in translation is how Eileen Chang rebuilds these female images in cross-cultural communication and highlights her standpoints in feminism。 The harmonization between different elements makes Chang’s works persified and justifies her translation techniques。 In a similar way, Skopostheorie allows the translator to employ any methods if these methods serve the Skopos/purpose or function。 However, the word “harmonization” is too abstract to describe Chang’s translations。 The adoption of this word for Chang’s translation works means that her translation is appropriate in all cases, which b worth pondering。 To prove this harmonization on feminism in Chang’s self-translation works, Yang listed several detailed examples concerning words and phrases, leaving structure and style alone。 Furthermore, research methods adopted by Yang are limited。文献综述

In CNKI, there are more than 200 papers on the translation of Jinsuo Ji dispersed among master thesis and periodicals: A Study on Eileen Chang’s Self-Translation of The Golden Cangue - Based on the Rewriting Theory by Wu Yanhua (吴燕华), On Self-translation of Eileen Chang’s “Jinsuo Ji” from A Cultural Translation Perspective by Wu Qianyan (吴倩琰), Hybridity in Zhang Ailing’s Self-translation - The Golden Cangue Analyzed in Light of Reception Aesthetics by Ruan Guanghong (阮广红), to name just a few。 These works view the translation of Jinsuo Ji from different angles - rewriting theory, cultural translation, stylistics, reception aesthetics, feminism, etc。 Some speak highly of the translation while some provide critical suggestions in improving the rendering。 The large number of studies on the self-translation of The Golden Cangue, again, manifests the significance of this novel to Chang’s writing life。 Truly, these researches help us better understand the works in terms of its background and translation skills。 We can also gain a discerning perspective in evaluating this work。 However, most researches only relates to one or two texts with few covering the whole process of the four-time translation。 There is one exception, namely, the master’s thesis of Lu Weijin (路纬经) entitled A Case study of Eileen Chang’s Self-Translation of The Golden Cangue: From the Perspective of Functionalist Translation Theory。 In this thesis, Lu attempts to find out reasons for Chang’s persistence with the same novel and her Skopos for these translating activities according to functionalist theory。 Lu’s research provides explanations for the repetitive self-translation and rewriting by Chang, and compares translating methods of these texts。 However, the functionalist translation theory is not well integrated into the analysis of this self-translation。 Lu gives full discussion of the theory, but compares their translating strategies in an unsystematic way without making full use of Skopostheorie。