正文最终二次稿件.docx

1、正文最终二次稿件Introduction Outlaws of the Marsh, as one of the four traditional Chinese classics, has enjoyed wide popularity at home, and even drawn attention from people abroad. So far it has been translated into English, French, Germany, Japanese and so and so forth. But the English version exerts grea

2、t influence upon the public and covers various topics such as translation aim, selection of versions, translation strategies and approaches.During nearly seventy years from 1933 to 2002, there appeared four English version translated by Shapiro, Buck, Jackson and John. With various degrees of famili

3、arity with Chinese culture, they did absolutely different jobs in the process of translating the novel. This essay compares three English versions of Outlaws of the Marsh. its necessary to have knowledge about the writers. Shapiro is an American-born Chinese. He learned Chinese history and culture f

4、or many years. After WW, he came to Shanghai and got married to a Chinese actress. He settled down in China for many translation works.Shui Hui Zhuan is translated as Outlaws of the Marsh. Buck was born in West Virginia, 4 months later, with the preacher parents came to China. Successively in Qingji

5、ang pu, Zhenjiang, Nanjing, Lushan etc to live and work nearly 40 years, including in 18 years life in Zhenjiang, she had her lifes early years, so she called Zhenjiang her Chinese homeland. Much of her childhood time is spent, first learning to Chinese and the Chinese customs, then her mother taugh

6、t her English. She is the great translator to make All Men Are Brothers famous all around the world. Jackson is an English translator ,who seldom has the living expriences in China and just studies Chinese culture for many years. He translated Shui Hu Zhuan as Water Magin, and made the translation s

7、traightforward. Shaprio and Bucks translations enjoy more reputation than Jackons, as they are more familar with Chinese and English cultural environment.People take great delight in talking about their translation of nicknames in Outlaws of the Marsh.The three translations of this novel have been s

8、tudied by many scholars, who analyze different versions of this novel from the perspective of cross-cultural transmission,translation strategies , defamiliarizion translation and so on and so forth.It is impossible for translators to do the perfect translation work, as the culture difference exists.

9、Xu Xueping analyzed the demerits of Shaprios translation of this novel and pointed out that The translation is inadequate in verification of the original text. Of course, it is inevitable to produce barrier in culture and characters for the sake of time and space in the course of interpretating the

10、original version. Moreover, there has not been adequate conversion or precise conversion of source information. As we know, the bookname has translated totally differently.Shui Hu Zhuan has tanslatated as Outlaws of Marsh, All Men Are Brothers and Water Margin. Li Jing analyzed the reason of differe

11、nt bookname translations of this novel and suggested thatThe process of translation is manipulated by ideology, which involves both the translators individual ideology and the dominant ideologies of the society the translator finds himself or herself in that may include the element of patronage. It

12、is the complex interaction of two ideologies that results in the difference in the translation product as well as the necessary changes made in the process of translation through the translator subjectivity.Nicknames in Outlaws of Marsh is the special feature of this novel and it has Chinese culture

13、 which is hardly transmitted to the target readers.The translators make it easy for the target reader to understand by domestization strategy.But some scholars argure that these translation works lost Chinese culture flavor. Xu Jianping and Liang Jinhua analyed the Bucks work and they maintain thatD

14、efamiliarization or domestizaion can preserve exotic flavor, which makes readers find new things or explore the stange field. Readers enjoy powerful aesthetic pleasure and spend much on the translation work.The research of the tranlation work has been studying in many aspects and the translation wor

15、k has hotly been dicussed and reseached by scholars.This thesis is analytic and comparative in nature. The aim is not only to point out which of the three versions studied is better but also to analyze the important role translators subjectivity plays in achieving an excellent translation, confirm t

16、he validity of translators subjectivity in the field of Chinese-English literary translations, and discover basic translation strategies in translation process. More translation will be proved. Although a completely equivalent culture translation will not be achieved, the translators role should not

17、 be overlooked. Translators Subjectivity and Its Roles in Translation 1.1The subject of translationBefore making a detailed exploration of translators subjectivity in the case study of the three English versions of Outlaws of the Marsh, it is of vital significance to make it clear, first and foremos

18、t, who is the subject of translation. Many scholars at home and abroad have hotly debated on this issue in the form of articles or academic meetings but with no consensus reached on it.Andre Lefevere pointed that “Translation is, of course, a rewriting of an original text”. According to him, the tra

19、nslator as a manipulator of the source text is undoubtedly the subject of translation activities, and his/her personal characteristics can and should play a certain role in the translation process.Professor Xu Jun (2003) summarizes the answers abroad and holds that: Only the translator is the subjec

20、t; Both the author and the translator are the subjects; The translator and the reader are the subjects; and the author, the translator and the reader are all the subjects. Chen Daliang argues that “translator is the subject of translation, that the author is the subject of literary creation, and tha

21、t the reader is the subject of acceptance”. (陈大亮, 2004：6) Yang Wuneng, a translation theorist of prominence and popularity, puts forward the statement of multi-subject of translation including the author, the reader and the translator, with whom as the most active one. But he argues, in his article

22、“Revising the Subject of Literary Translation”, that “Literary translators are the subjects of literary translation” (杨武能, 2003:10), say, translator is the subject of translation as he/she has the double identity of the receptor of the source text and the creator of the target text.Based on the abov

23、e arguments, the author of this thesis holds that translator is the subject of translation. Then the original is the object of translators understanding, interpreting and recreating; its author is the translators referential and researching object.Therefore, the subjectivity of the translation is re

24、garded as the subjectivity of the translator.1.2The connotation of translators subjectivity It is worthwhile to make clear the concept or the definition of translators subjectivity before we explore the connotation of it. However, it seems that no unanimous definition of translators subjectivity has

25、 been made and no systematic cognition of it has been taken in the translation circle.Cha Mingqian and Tian Yu (2003) define translators subjectivity as follows:The translators subjectivity refers to the subjective initiative displayed by the translator to realize his/her translation purpose as a tr

26、anslation subject on the premise of respecting the translation object. Its essential features are his/her obvious cultural awareness, personality, and style, cultural and aesthetic creation.Besides, Tu Guoyuan and Zhu Xianlong define the translators subjective as, In general, the translators subject

27、ivity is the initiative which is displayed under the constraints of other translation participants, external forces and his/her own horizons in the course of translating, such initiative is independent ,conscious, purposeful and original, reflecting the translators consciousness of his/her own artis

28、tic personality as well as his/her cultural aesthetic creativity.From the above two analyses, it can be seen that the translators subjectivity refers to the translators subjective interpretation of the source text. The translator, different from the ordinary readers of the source text, reads it with

29、 the purpose of translating it and therefore, he usually must have a far more thorough understanding of the original.The translators do not have the same understanding in the literary text, resulting from different competence as cultural awareness, language capability, literary level, cognition and

30、so and so forth. The translator should also take target culture and readers into consideration. On one hand, the translator is assumed to conform to the source text with difference in culture, social ideology and so on and so forth; and on the other hand, he is allowed enough space for his own exper

31、ience, value judgment, personality and translation strategies, which will inevitably influence his representation in the target text and at the same time his/her subjectivity will be unavoidably displayed in many aspects.1.3The manifestation of the translators subjectivity in translating processAfte

32、r what is translators subjectivity has been given, the subsequent part will center on the roles a translator play in the process of translating. When translating, a translator plays many subjective roles. A translator is a reader of the original text. The translator has to make numerous decisions, so he/she is called a decision-maker. Besides, another subjective role of the translator is a researcher, which cannot be neglected, either. Last but not least, the translator is a substitute. The following analysis will argue how translators subjectivity is applied in the process of translation i