Difference between revisions of "Translation Theories Applied to Literary Translations"

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[[Theor_App_Lit_EN_1]]
 
[[Theor_App_Lit_EN_1]]
  
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===摘要===
 
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长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。
 
  
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翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。
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=付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
  
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===关键词===
 
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翻译转换理论；《宠儿》；黑人英语
 
  
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===Abstract===
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[[Theor_App_Lit_EN_2]]
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''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.
 
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Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.
 
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===Key words===
 
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Translation Shift Theory; ''Beloved''; Black English
 
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===Introduction===
 
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The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.
 
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In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved''(潘岳、雷格，1996）from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.
 
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The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.
 
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===Introduction to ''Beloved''===
 
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In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.
 
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====Main Content====
 
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''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.
 
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Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.
 
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====Linguistic Characteristics====
 
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The selected text used for this report is the literary novel ''Beloved'' and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically.
 
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Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
 
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In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.
 
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Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
 
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Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.
 
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More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.
 
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===Theoretical Framework===
 
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Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.
 
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====About Catford’s Shifts Theory====
 
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Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation (Vinay, 1958, 46). In this regard, it is the basis for the theory of translation transformation.
 
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J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965, 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (穆雷, 1990, 37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005, 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator.
 
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=====Introduction to Level Shifts=====
 
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According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.
 
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=====Introduction to Category Shifts=====
 
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Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965, 23). There are four kinds of hierarchical relationships:
 
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Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation" (Catford, 1965, 77), such as the change of word order, which does not go beyond the grammatical level of the sentence.
 
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Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item” (Catford, 1965, 78). A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses.
 
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Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL(Catford, 1965, 79). As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts.
 
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Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965, 80). Intra-system Shifts are used for situations where the shifts occur internally (林玲，2009，74-78，82).
 
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====Feasibility====
 
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In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts (毛菁菁，2015，145-146). However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future.
 
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Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.
 
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To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.
 
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===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===
 
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By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.
 
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====Level Shifts Applied in the Version====
 
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Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.
 
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=====Tense and Aspects Shifts=====
 
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Example 1
 
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ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.
 
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TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。
 
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In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.
 
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Example 2
 
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ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.
 
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TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。
 
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Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.
 
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Example 3
 
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ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;
 
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TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。
 
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The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.
 
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=====Shifts between Plurality and Lexis=====
 
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Example 4
 
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ST4: Boys hanging from the most beautiful sycamores in the world.
 
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TT4: 小伙子们吊死在世上最美丽的梧桐树上。
 
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Example 5
 
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ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.
 
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TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。
 
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Example 6
 
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ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.
 
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TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。
 
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Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.
 
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There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.
 
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====Category Shifts Applied in the Version====
 
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According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.
 
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Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases.  Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.
 
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=====Structure Shifts=====
 
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In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(毛菁菁, 2015, 145-146)
 
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'''4.2.1.1 Shifts from Active Voice to Passive Voice'''
 
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Example 7
 
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ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.
 
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TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。
 
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Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese (连淑能，1993，90). There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use  other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used.
 
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In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.
 
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'''4.2.1.2 Shifts from Affirmation to Negation'''
 
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Example 8
 
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ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.
 
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TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。
 
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ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.
 
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Example 9
 
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TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。
 
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ST9: When he got to his house he was too tired to eat the food his sister and nephews had prepared.
 
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TT9:  他回到家时，累得吃不下妹妹和外甥们做好的晚饭。
 
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Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.
 
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In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.
 
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'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''
 
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Example 10
 
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ST10:  Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.
 
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TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日， 而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。
 
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Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.
 
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=====Class Shifts=====
 
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Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.
 
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It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.
 
−
 
 
−
'''4.2.2.1 Shifts of Prepositions'''
 
−
 
 
−
Example 11
 
−
 
 
−
ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.
 
−
 
 
−
TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。
 
−
 
 
−
Example 12
 
−
 
 
−
ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.
 
−
 
 
−
TT12:  塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。
 
−
 
 
−
English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated (仲晶瑶，2003，84-85). But the most common way is to translate prepositions into verbs.
 
−
 
 
−
In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".
 
−
 
 
−
'''4.2.2.2 Shifts of Adjectives'''
 
−
 
 
−
Example 13
 
−
 
 
−
ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.
 
−
 
 
−
TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。
 
−
 
 
−
Example 14
 
−
 
 
−
ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.
 
−
 
 
−
TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。
 
−
 
 
−
In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.
 
−
 
 
−
'''4.2.2.3 Shifts of Nouns'''
 
−
Example 15
 
−
 
 
−
ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."
 
−
 
 
−
TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”
 
−
 
 
−
Example 16
 
−
 
 
−
ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.
 
−
 
 
−
TT16: 她再一次精疲力尽，就近坐下一一 坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。
 
−
 
 
−
In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.
 
−
 
 
−
=====Unit Shifts=====
 
−
According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation.
 
−
 
 
−
'''4.2.3.1 Shifts from Words to Phrases or Clauses'''
 
−
 
 
−
Example 17
 
−
 
 
−
ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.
 
−
 
 
−
TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。
 
−
 
 
−
Example 18
 
−
 
 
−
ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.
 
−
 
 
−
TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。
 
−
 
 
−
In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.
 
−
 
 
−
In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.
 
−
 
 
−
'''4.2.3.2 Shifts from sentence to sentence groups'''
 
−
 
 
−
Example 21
 
−
 
 
−
ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.
 
−
 
 
−
TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。
 
−
 
 
−
The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.
 
−
 
 
−
=====Intra-system Shifts=====
 
−
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.
 
−
 
 
−
Example 22
 
−
 
 
−
ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.
 
−
 
 
−
TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。     
 
−
 
−
Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.
 
−
 
 
−
The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.
 
−
 
 
−
Example 23
 
−
 
 
−
ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.
 
−
 
 
−
TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。
 
−
 
 
−
The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.
 
−
 
 
−
===Conclusion===
 
−
 
 
−
This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.
 
−
 
 
−
====Major Findings of the Study====
 
−
After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that  the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.
 
−
 
 
−
Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.
 
−
 
 
−
Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.
 
−
 
 
−
====Limitations of the Study====
 
−
The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.
 
−
 
 
−
===References===
 
−
[1]潘岳、雷格. 宠儿[M]. 北京：中国文学出版社，1996.
 
−
 
 
−
[2] Vinay J P, Darbelnet J. Translation and activism[M]. Paris: Didier, 1958.
 
−
 
 
−
[3] Catford J C. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965: 85－91.
 
−
 
 
−
[4] 穆雷．评卡特福德的《翻译的语言学理论》[J]．外语教学，1990(02)：37-42．
 
−
 
 
−
[5] Halliday M A. On Grammer[M]. London: Continuum International Publishing, 2005.
 
−
 
 
−
[6] 林铃．卡特福德翻译转换模式下的翻译过程研究[J]．语文学刊(外语教育与教学) ，2009(05)：74-75，82．
 
−
 
 
−
[7] 毛菁菁. 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J]. 兰州教育学院学报, 2015, 31(3): 145-146.
 
−
 
 
−
[7] 连淑能. 英汉对比研究[M]. 北京: 高等教育出版社, 1993: 90.
 
−
 
 
−
[8] 仲晶瑶. 从动词特性看英汉介词[J]. 黑龙江教育学院学报, 2003,(3): 84-85.
 
−
 
 
−
=付红岩=
 
−
=A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
 
−
 
 
−
=abstract=
 
−
The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Zhang Yousong, Chang Jian and Zhang Wanli.
 
−
 
 
−
=key words=
 
−
“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature
 
−
=摘要=
 
−
《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。
 
−
=关键词=
 
−
“信达雅”；翻译对比；口语文学
 
−
 
 
−
=Introduction=
 
−
Introduction: Yan fu, a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.
 
−
Introduction to The Adventure of Huckleberry Finn
 
−
In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life  are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.
 
  
 
=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
 
=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
 +
[[Theor_App_Lit_EN_3]]
  
−
===Abstract===
+
Zhan Ruoxuan,詹若萱,Hunan Normal University,China
−
This paper attempts to discuss subtitle translation from the aspect of Nida’s Functional Equivalence Theory by meticulously selecting many fresh examples from a film “Jane Eyre” adapted from the well-known book “Jane Eyre”. Literary works are important subjects for film and TV dramas, and many of them are based on literary works. ”Jane Eyre” has attracted tens of thousands of readers, and its research value has been continuously shown. The subtitle translation of its adapted film“Jane Eyre”also contributes to the literary work’s popularity.
 
−
 
 
−
This paper has 3 parts which carefully discusses subtitle translation, Functional Equivalence Theory and the translation methods of functional equivalence in subtitle translation. The research is of great significance to the development of subtitle translation. This paper provides a more scientific reference for film subtitle translation, making the Functional Equivalence Theory more mature in the practical application of subtitle translation, and provides a more effective explanation for the application of Functional Equivalence Theory in subtitle translation. It contributes a lot to promoting the vigorous development of film subtitle translation.
 
−
 
 
−
===Key words===
 
−
"Jane Eyre";Subtitle trabslation; Functional Equivalence Theory
 
−
 
 
−
===摘要===
 
−
本文根据奈达的功能对等理论，从电影《简爱》中精心挑选了大量新颖的字幕翻译实例，论述了如何根据功能对等理论进行字幕翻译。文学作品是影视剧拍摄的重要题材，很多影视剧作品都是根据文学作品改编而来的。《简爱》自问世以来，吸引了数以万计的读者，其研究价值也不断地显示出来。字幕翻译也促进了文学作品的传播与受欢迎。
 
−
 
 
−
本文分为三个部分，分别对字幕翻译、功能对等理论以及功能对等理论在字幕翻译中的应用进行了详细的论述。本文为电影字幕翻译提供了更为科学的参考，使功能对等理论在字幕翻译实践中的应用更为成熟，并为功能对等理论在字幕翻译中的应用提供了更为有效的解释。
 
−
 
 
−
===关键词===
 
−
《简爱》；字幕翻译：功能对等理论
 
−
 
 
−
===Introduction===
 
−
With the implementation of the Chinese economic reform and the development of the trend of global integration, the commerce and trade cultures of different countries have more chances to intermix with each other. Where movies and TV shows have become one of the main art forms in daily life, it makes sense as an important carrier of culture. In recent years, more and more English movies and TV plays have been introduced into China, which not only play the role of entertainment products, but also become a window for Chinese audience to understand English-speaking countries. Because of the language barriers, the audience often needs the help of subtitle translation to understand the dialogue, background and other information of the specific film and TV show, which is the foundation for audience to understand the direction of the plot, characters and other contents. If the translator cannot convey this information to the target audience properly by subtitles, it will make the target audience can not enjoy the same fun as the native audience.
 
−
 
 
−
Nowadays, people are eager to watch more movies and TV series which have their own unique characteristics. And people’s need for subtitle translation is larger both in quality and quantity. The quality of the subtitle translation has large influence on people’s watching experience and their perceptions of the cultural and social connotations the film conveys. Therefore, the importance of film translation is self-evident. Although film translation has a great influence on today's society, it is different from other forms of translation. The history of film and television translation is still very short. While subtitle translation, seen as the most direct way of film translation, has not yet formed the systematic and theoretical system, it still relies on experience and perception in translation.
 
−
 
 
−
With the help of Nida's Functional Equivalence Theory, this paper chooses ”Jane Eyre”, a film adapted from the famous English novel ”Jane Ayre”. This paper analyzes the translation strategies by listing many representative practical examples, and concludes whether the translation meets the objectives of subtitle translation and the audience's expectations. This paper hopes to provide some examples to better promote the development of subtitle translation of literary works from the perspectives of Nida’s Functional Equivalence Theory. In addition, this paper also hopes to arouse more scholars’ interests to explore the subtitle translation based on the Functional Equivalence Theory, and this paper also serves to enrich the studies of subtitle translation in E-C translation to promote the cross-cultural communication.
 
−
 
 
−
===Subtitle translation===
 
−
This part will present a brief introduction of subtitle translation including its characteristics and strategies.
 
−
 
 
−
====Characteristics of subtitle translation====
 
−
Firstly, subtitles should be easy to be understood because they have to show the main content of the all in a relatively simple way. Zhang Chunbai points out “with rare exceptions, film dialogues must be simple to be understood at first hearing because it is difficult for audience to hear it twice.”[9] Subtitle translation is rarely using very obscure words and complex sentences. In particular, the instantaneity of the film makes the subtitles stay short. Therefore, the subtitles often need to present the plot, the actors’ emotion and the story background in a short time to achieve a clear effect. It includes two parts. On the one hand, choose simple sentence patterns. On the other hand, choose simple words. In addition to simple sentence patterns, words in sentences are usually translated into language easy to be understood.
 
−
 
 
−
Secondly, subtitle translation is supposed to be in accordance with the context and takes the audience's language and cultural background as the standard. Subtitle translation will consider different language, cultural characteristics and make the conversion according to the context. By watching this kind of subtitle translation, audience can have their best watching experience. For example, English language pays more attention to the structural beauty of sentence patterns, long sentences such as conjunctions and master-slave compound sentences, and the overt cohesion of the internal components of sentences, while Chinese language pays more attention to the beauty of artistic conception and the modification of adjectives. The sentences of Chinese are loose but the meaning is not scattered, and the internal components of sentences are mostly covert coherence.
 
−
 
 
−
====Strategies of Subtitle translation====
 
−
There are two kinds of translation strategies that we often use—domestication and foreignization.
 
−
The first one is domestication. Domestication translation advocates putting the audience first and emphasizes the importance of natural and fluent translation of subtitle translation in language, focusing on bringing the source language culture into the target language audience. In the category of culture, it mainly centers on the language of its own nation and makes foreign language as much as possible in line with the national language habits and cultural value system.Nida points out that“The translator must be a person who avoided the linguistics and cultural differences in order that target receptors may find clearly the relevance of the original information．"(Nida，1964：170)[4] He also claims in another statement that‘‘Translation consists in reproducing the closest natural equivalent of the source language message in the receptor language,meaning firstly and then style．”(Nida,1993:116)[2]
 
−
 
 
−
The other strategy is foreignization. Foreignization requires the target audience to accept the language expression habits of the source text and cultural differences, leading the audience into the foreign situation. The important representative is Venuti, who advocated that “translation should face the differences and cover up the differences at the same time, and when necessary, differences can be highlighted.” [5] On the whole, in foreignization, translation is necessary to choose one of the original author or the source language as the main axis in order to retain the film atmosphere. The purpose of the original features of the content is to spread the source language culture to the audience of the target language. Especially, to achieve the purpose of translation, the translator can better understand the film works according to the language function of the film. Based on the needs of the audience in the target language, translators do some adjustments to analyze the source information in the film especially when encountering more difficult cultural factors.
 
−
 
 
−
=== Introduction to Jane Eyre===
 
−
“Jane Eyre” is a 19th century work that was controversial upon its release. The feminist ideas expressed in “Jane Eyre” have been gradually accepted by the world. The main character in this work is a woman with a strong character, pursuing freedom and equality, who has experienced hardships in her life, but she has never given in and had very strong feminist ideas. It not only expresses her dissatisfaction with male chauvinism at that time, but also has a certain inspirational effect on the development of modern feminist thought.
 
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−
The author Charlotte Brontë was born in poverty. her poor background and the brutal school life she experienced as a child was the source of her inspiration, which she incorporated these inspirations into her characters and created the image of “Jane Eyre”. Jane Eyre seems to be Charlotte Brontë herself, although God did not give her a humorous life, but she still did not yield to fate in her tragic life experience, and was still full of aspiration for freedom and happiness. Her soul is strong and undefeated. This feminist ideology makes the work more This feminist ideology makes the work resonate with women in society.[7]
 
−
 
 
−
====Characters and story line====
 
−
The novel tells the story of Jane Eyre, an orphan girl whose parents died at a young age and who was abused in her aunt's home and then sent to an orphanage by her aunt. The orphanage was a harsh environment, but she survived. Two years after graduation, Jane was hired to earn a living as a governess. The master, Rochester, was melancholy and moody, but after a longer contact, Jane found Rochester kind-hearted, upright and stalwart, and gradually developed feelings for him. When they held a wedding in the church, Jane painfully discovered that Rochester had a crazy wife. Jane left sadly.
 
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−
Later, her uncle, from whom she had been separated for many years, died after a long illness and bequeathed her a huge fortune. Because she could not forget her love for Rochester, she returned to her hometown, only to learn that a few months ago the crazy woman died of arson. In order to save her, Rochester became blind due to the fire. Jane immediately went to him to confide in him, and the two finally reconciled. Later, Rochester went to London to heal his eyes, and Jane Eyre gave birth to a boy. In the end, they happily lived together.[1]
 
−
 
 
−
====Distictive features of Jane Eyre====
 
−
There are several reasons why the author chooses it as the analyzed material.
 
−
 
 
−
First. It conveys important educational values. The reason why audiences are so curious about the film version of “Jane Eyre” is that many people had already read the work beforehand, and they had a deep affection for the original. They have a deep attachment to the original work, and are impressed by the image of Jane Eyre in the original work. Many people take Jane Eyre as a role model for her own pursuit of love. After the release of "Jane Eyre", they are very keen to follow the film, because the work itself has strong artistic value. The strong artistic value and effective ideological guide for the pursuit of love in the current era. [10]It has inspired many people who want to pursue love bravely. It expresses some feminist ideas. It tells women to be independent and brave to live for their own. When the society is unfair to women, Jane Eyre educates women to stand up and to fight for their freedom and rights.The film emphasizes that women should be strong and brave to be independent and fight for their own life in audio-visual way.
 
−
 
 
−
Second. The costumes and photography of the film are very beautiful, it can be described as vintage Gothic British fresh style. From the cool tones of the scenes to the mournful soundtrack, it highlights the difficult fate and strong character of the main character, Jane Eyre, in a more powerful way.
 
−
 
 
−
Third. In addition, this film has amazing ensemble cast. A successful TV series does not rely on one person, it relies on the combined efforts of all the cast. The performance of characters is the key to success. And each cast’s performance support one specific part of the film. 
 
−
 
 
−
===Brief Introduction to Nida's Functional Equivalence Theory===
 
−
In this part, the author will give a brief introduction to this important theory including the definition, the major points and principles. And it will provide the theoretical foundation for the next chapter.
 
−
 
 
−
====Main ideas of Functional Equivalence Theory====
 
−
Eugene A. Nida is American linguist, translator, and translation theorist. Nida was a distinguished linguist who traveled to 96 countries, lectured at more than 100 universities, and came to China 13 times -- until 2003, when, at the age of 89, he still lectured in Africa. As a teenager, Nida became a Christian and received the call of Christ to be his Savior in the Church. But he was a man who strictly separated the academic and religious worlds.”he never talked about anything that wasn't academic.”[8] Professor Ye Zinan(2011), a translation theorist, made a point of Mourning Nida. Because of Nida’s high profile and influence on the academic world, mainstream media in the United States and Britain, such as the New York Times, The Wall Street Journal, The Washington Post, The Daily Telegraph, and so on, reported on his death, and gave a high appraisal to his academic contribution.
 
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−
Functional Equivalence Theory was first proposed by Eugene A. Nida. The central concept of Nida's theory is "functional equivalence". And it is so-called "functional equivalence", which does not look for literally rigid correspondence, but rather in order to achieve a functional equivalence between the two languages. In order to convert between the source language and the target language, there is a standard to reduce the difference from a linguistic point of view. Nida advanced the famous translation theory of "dynamic equivalence". In this theory he emphasizes that "translation consists in reproducing the information of the source language from semantics to style in the most appropriate, natural and equivalent language". [3]
 
−
 
 
−
Nida's translation theory has four basic premises:
 
−
 
 
−
First, the word is truth; second, convey the spirit of the original; third, express naturally; fourth, be able to produce resonance.
 
−
 
 
−
Therefore, in the process of translation, the theory can be the guide for different source text types, and translation should serve the readers. All translation efforts must focus on the acceptability of the target audience, which is the ultimate goal of translation. According to Nida's definition of translation, translation is not only lexical equivalence, but also syntactic, stylistic and cultural equivalence. In the dynamic equivalence, the equivalence includes four aspects:
 
−
 
 
−
First, vocabulary equivalence: lexical equivalence is the basic unit of equivalence in Nida's theory. All articles start with lexical equivalence. Therefore, although the vocabulary translation of small units, but we must be careful to deal with it, because a small error will undermine the entire translation process.
 
−
 
 
−
Second, syntactic equivalence: syntactic equivalence is a higher level of equivalence in translation. For example, because of different structures and grammar rules between Chinese and English, there are different signs of singular and plural. The category of singular and plural in English is very important in the formation of English. While Chinese pays less attention to this part. And we can translate a declarative sentence in English into a negation sentence in Chinese. Translating something from one language to another, translators must focus on the syntactic requirements of each language.
 
−
 
 
−
Third, textual equivalence: discourse is a unit of language use. Therefore, in discourse analysis, we should not only analyze language itself, but also should see how language embodies meaning and function in a specific context. Text equivalence consists of three levels: context,syntactic context and cultural context.
 
−
 
 
−
Fourth, stylistic equivalence: the translated works of different styles have their own unique linguistic features. Only when the translators can master the features of both the source language and the target language, and can use both languages skillfully, can the translator create the translated works that truly embody the style of the source language. The difference of language style means that the cultural factors contained in the works are also different.
 
−
 
 
−
In these four aspects, Nida thinks, "meaning is the most important, form is secondary" (Guo Jianzhong, 2002, P67). [6]The form is likely to conceal the cultural meaning of the source language and hinder cultural exchange. Therefore, in literary translation, according to Nida’s theory, the translator should accurately reproduce the cultural connotations of the source language in the target language with the four aspects of dynamic equivalence as the translation principle.
 
−
 
 
−
====Enlightenments of Functional Equivalence Theory====
 
−
To sum up, translation, as a specific form of cultural activity, is characterized by the interaction between two languages, thus resulting in variations in pronunciation, vocabulary, grammar and style, as well as cultural differences among countries. There are also great differences in language translation. Therefore, Functional Equivalence Theory is particularly important in English-Chinese translation, especially in the translation of lexical chunks. In order to achieve functional equivalence, the translator should change the original form, preserve the content of the original, and use the closest and the most natural equivalent of the target language. Besides, the Functional Equivalence Theory is not only effective in language communication, but also in eliminating the problems caused by the cultural differences between China and the west. Correct and scientific translation theories are conducive to the study of linguistics and the communication with world.
 
−
 
 
−
===Application of Functional Equivalence Theory in subtitling "Jane Eyre"
 
−
In this chapter, the author will discuss the translation methods of Functional Equivalence Theory on subtitling “Jane Eyre”. Considering the characteristics and constrains of subtitle translation, this part will present some techniques and strategies in subtitle translation. 
 
−
 
 
−
In the following discussions, the author will list many examples of “Jane Eyre” to support the application of the Functional Equivalence Theory from many levels including the lexical, the syntactic, the cultural, and the stylistic level.
 
−
 
 
−
====Lexical equivalence====
 
−
Lexical translation is the basic work of all translation activities, and word meaning equivalence is also the most basic requirement for film and movie translation under functional equivalence.
 
−
 
 
−
=====Deletion=====
 
−
Deletion means to delete something unimportant from the source content to better convey the prime theme and remain the original atmosphere. And the structure and ways of expression of Chinese and English sentence pattern are very different. In addition, the constraints of space and time on subtitle translation are also another reason that the translator must delete something useless.
 
−
 
 
−
Example 1:Well,I think we should call the doctor.
 
−
        我觉得应该请个医生。
 
−
Example 2:I’m afraid you’ve have had a tedious journey.
 
−
        这一路漫长又无聊。
 
−
 
 
−
In subtitle translation, some unnecessary words will be omitted. In order to achieve Nida’s Functional Equivalence Theory, content and form must be adjusted to some extent. Therefore, some meaningless parts such as “well” or “I’m afraid” can be left out to remain the core and important meaning of the source language which can make the target audience understand the original content more lucidly and simply.
 
−
 
 
−
=====Amplification=====
 
−
Amplification is a translation strategy to add some words, phrases or unknown information to make the subtitle translation understandable to audience. In order to convey the source language and mood, sometimes translators are supposed to add new information to make target audience experience the same reading experience as the source audience.
 
−
Similar to deduction, because of the different structure and rule of Chinese and English, Sometimes English will omit some essential parts which can’t be deducted by Chinese. Expansion is important for translators to add essential information which is important to convey original messages.
 
−
 
 
−
Example 3:Nice to get out of the carriage.
 
−
      旅途真是太漫长了，真想下去走走。
 
−
Example 4:The sea is such a barrier.
 
−
      大海像鸿沟，会让我离开。
 
−
 
 
−
The sentence of example 3 is spoken by a passenger who has experienced a long journey. It is reasonable for the translator to add “真想下去走走”to make audience feel the tiresome of the passenger better. In example 4, the conversation happens when Rochester is going to get married and asks Jane to work for another family who lives far away in Ireland. The translator adds”会让我离开” to better express Jane’s sincere feeling for Rochester. In this way, audience can understand the feelings of Jane more clearly.
 
−
 
 
−
=====Imitation=====
 
−
The definition of imitation in transition is to make the phonetic copy in the target language. And it is often used to translate the name of place and person.
 
−
 
 
−
To achieve the functional equivalence at phonetic level, the subtitle translation in "Jane Eyre" also makes use of some imitation.
 
−
 
 
−
Example:Yorkshire Herald
 
−
      约克郡先驱报
 
−
Example:Mrs.Fairfax
 
−
      菲尔法克斯夫人。
 
−
 
 
−
In order to achieve functional equivalence at phonetic level, the strategy of imitation is most effectively used in translating some nouns such as place names and people names.
 
−
 
 
−
=====Conversion=====
 
−
Conversion is a great way to help translators reach functional equivalence. As we all know, the rules of English and Chinese sentences has many differences. Conversion is the formation of new words by conversing words of one class to another class. In translation, we can use this method to make the subtitles of targeted language better understood.
 
−
 
 
−
1.Noun—Verb(n.-v.)
 
−
Example：This girl is a liar(n.).
 
−
        因为她爱说谎(v.)。
 
−
Example: It is in defiance of every precept(n.).
 
−
        这是对学校的训诫(v.)。
 
−
2.Verb—Noun(v.-n.)
 
−
Example: I know you have suffered(v.) greatly.
 
−
        我知道，你有过很多苦难(n.)。
 
−
3.Adverb—verb(Adv.-v.)
 
−
Example:Come. Into(adv.) bed.
 
−
      来，盖(v.)上被子。
 
−
4.Adjective—v(adj.-v.)
 
−
Example:Your feet are bare(adj.).
 
−
      你光(v.)着脚呢。
 
−
 
 
−
There are just some examples about the word class conversion in subtitling translation. The translators should pay more attention to the word class conversion in order to meet the maximal equivalence of the targeted language.
 
−
 
 
−
====Syntactical Equivalence====
 
−
According to different structures and rules of English and Chinese, syntactical equivalence can be achieved by adjusting sentence pattern and order.
 
−
 
 
−
=====Adjusting sentence pattern=====
 
−
Sometimes we need to do something to change the sentence pattern of the sentence which can make the subtitling translation better meet the need of functional equivalence. And in this way, the targeted audience can also better experience the TV series as the original audience.
 
−
 
 
−
Example: would you follow me, Miss?
 
−
        请跟我来，小姐。
 
−
Example:Oh,how do you do, my dear?
 
−
      终于见面了，亲爱的。
 
−
 
 
−
In this translation, we can easily find that the interrogative sentence is translated into the statement, which can better reach the functional equivalence of sentences between the targeted language and the original language.
 
−
 
 
−
=====Adjusting sentence order=====
 
−
What’s more, sometimes the change of sentence order is in need.
 
−
 
 
−
Example:You will not be left alone for so long as I shall live.
 
−
      在我有生之年不再让你感到孤独。
 
−
Example: He only inherited Thornfield nine years ago.
 
−
        他继承桑菲尔德庄园，不过九年时间。
 
−
 
 
−
If the two sentences are translated literally, they will be translated as “你不会感到孤独在我活着的时候。”and “他就继承桑菲尔德庄园九年之前。” And they are very strange in Chinese. “在我有生之年不再让你感到孤独” and “他继承桑菲尔德庄园，不过九年时间。” better adapt to the rules of Chinese. In this way, the subtitling translation can better adapt to the targeted audience.
 
−
 
 
−
====Cultural Equivalence====
 
−
Different countries have different cultures. And the colorful cultures can be found in their different languages. So in subtitling translation, we must pay much attention to the cultural aspects and cultural connotations.
 
−
 
 
−
======Domestication=====
 
−
Nida, as a representative of domestication believes the translation is dominated by the target language or the readers of the target translation, and the tone is used to please the target readers.Domestication is a common strategy that translators use in subtitle translation. In this film, the translator always uses Chinese proverbs and idioms because they can effectively and accurately express the authentic Chinese. It is needed because Chinese audience can understand the subtitle better and Chinese audience can comprehend it much easier.
 
−
 
 
−
Example:I have done what I can for the child.
 
−
      我对这孩子已经仁至义尽了。
 
−
Example:I hope you don’t think I’m being ungrateful.
 
−
      希望你不要认为我忘恩负义。
 
−
 
 
−
======Foreignization=====
 
−
Foreigniztion in translation means that the translator adopts the original way of expression used by the original author to convey the content of the original text and the original text. Translation is a bilingual and bicultural conversion activity. Foreignization believes that translations should retain the foreign cultural features contained in the original text as much as possible. As a quite famous representative of foreignization,Venuti points out that”the translator seeks to build a community with foreign cultures， to share an understanding with and of them and to collaborate on projects founded on that understanding，going so far as to allow it to revise and develop domestic values and institutions.”(Venuti,1992:58)[11]Its purpose is to broaden the cultural vision of the target language readers and enrich the target language expressiveness and promote the integration of different cultures.
 
−
 
 
−
====Stylistic equivalence====
 
−
According to the Functional Equivalence Theory, translators are in pursuit of content firstly and form secondly under the premise of pursuing content and meaning equivalence. The destruction of style is acceptable to a certain extent, but a perfect translation is usually characterized by both content and form equivalence. In other words, if the translator can accurately translate the content and form of the source language at the same time, the translation will meet the specific requirements of Functional Equivalence Theory for translation activities at a higher level.
 
−
 
 
−
=====Formal language and informal language=====
 
−
Different languages will be used in different contexts. Formal language is used in formal occasions such as speeches or essays. While informal language is used in some informal occasions such as parties. While the subtitles of Jane Eyre are mainly originated from daily dialogues, the subtitle translation is translated in informal language. Because of this reason, the translation should use many spoken language and even some popular language.
 
−
 
 
−
Example: I bid you good night.
 
−
        我祝你晚安了。
 
−
Example:You saved my life.I am in your debt.
 
−
        你救了我的命。我欠你个人情。
 
−
 
 
−
For the example , the conversation takes place between Jane and Rochester. Rochester is the master of the Thorefield while Jane is only a governess hired by Rochester. Their is a big gap between their status and identity.”I bid you good night”is very proper and adapt to social rules of the 19th century British.While the Example , the situation has changed. Rochester said it to Jane after being saved by Jane from a fire. Their relationship has been closer. We can’t judge them by their identity anymore. So the conversation becomes more informal.
 
−
 
 
−
===Conclusion===
 
−
The subtitle translation of Jane Eyre has been discussed from the perspectives of functional equivalence. For one reason, Jane Eyre has enjoyed great popularity all around the world. They can convey many important spiritual values to people. People are supposed to pay more attention to the subtitle translation area. Because subtitle translation is important for people to receive different cultures and values. And it also has great influence on the development and formation of People’s mind. For another reason, the Functional Equivalence Theory is important for translators to do a great translation. Through many works and discussion, it is easy to find the advantages of subtitle translation based on the Functional Equivalence Theory. However, the research is still not mature and worth more exploring and discussions. Subtitle translation is a relatively new area which needs more efforts to be promoted.
 
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−
For the theory, the author gives thorough definition of Nida’s theory. Functional Equivalence Theory has been used by many translators in their translation. And it also plays an important role in the development of subtitling translation. It aims at making the target audience’s response same as the original audience’s response to the original texts. And it aims to make the target audience have the same feeling and emotions as the original audience as much as possible. Although there are some scholars who have done some researches on this area, there is still a long way to go in this aspect.
 
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−
Besides, this thesis is an attempt to apply the Functional Equivalence Theory to the subtitle translation based on some specific examples. The examples are all chosen from an adapted film of Jane Eyre which have enjoyed popularity for a long time since its publication all around the world. The author analyzes this paper from several parts including lexical level, syntactic level, cultural level and stylistic level.
 
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−
From the detailed examples, the author explains the subtitle translation of Jane Eyre based on the Functional Equivalence Theory comprehensively. However, there are still some limitations. The examples of Jane Eyre are only focusing on the literary subtitle translation from English to Chinese. And different readers and audience have different standards of translation. Great efforts and further research are still needed in the future study to find more mature theories on the subtitle translation. What’s more, more and more films and TV series are supposed to be analyzed based on the Functional Equivalence Theory. And the author hopes that the subtitle translation will gain more and more concerns in the future.
 
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−
===References===
 
−
[1]Bronte,Charlotte.Jane Eyre,Beijing:Foreign Language Press,2008．
 
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−
[2] Nida,Eugene Albert.Language,Culture and Translating.Shanghai:Shanghai Foreign Language Education Press,1993.
 
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[3]Nida. E. A. & Charles R. Taber. 2004a. The Theory and Practice of Translation [M]. Leiden: E. J. Brill. 12.
 
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[4]Nida,Eugene Albert.Toward A Science of Translating.E.J.Brill:Leiden,1964.
 
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[5][11]Venuti,Lawrence.The Translator's Invisibility.London and New York:Routledge,1995.
 
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[6]郭建中.2002.当代美国翻译理论[M].武汉：湖北教育出版社. 63. 67.
 
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[7]刘晓然.论《简·爱》中女权主义思想的表现形式[J].赤峰学院学报 (汉文哲学社会科学版),2019,40(05):89-91.
 
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[8]叶子南.高级英汉翻译[M].北京:清华大学出版社,2019.
 
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[9]张春柏. 影视翻译初探[J].中国翻译,2004:184.
 
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[10]邹柏涛. 探讨英美文学作品在影视剧中的艺术价值——以《简爱》为例[J].青年文学家, 2019(8):2.
 
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=6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例）=
 
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−
= Abstract=
 
−
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
 
−
=Key  words=
 
−
Key Words:Bian Cheng;  literary translation;  Creative treason
 
−
 
 
−
=摘要=
 
−
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
 
−
=关键词=
 
−
关键词：《边城》；文学翻译；创造性叛逆
 
−
=Chapter One Introduction=
 
−
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
 
−
=1.1 Research Background=
 
−
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.
 
−
 
 
−
Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.
 
−
 
 
−
The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.
 
−
 
 
−
=1.2 Research Significance=
 
−
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.
 
−
 
 
−
Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.
 
−
 
 
−
Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.
 
−
 
 
−
=Chapter Two Literature Review=
 
−
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
 
−
=2.1 Studies of Creative Treason Theory at Home and Abroad=
 
−
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.
 
−
 
 
−
The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.
 
−
 
 
−
Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;
 
−
 
 
−
Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.
 
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In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu  pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.
 
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But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.
 
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=2.2 Studies of Bian Cheng at Home and Abroad=
 
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Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.
 
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Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.
 
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Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.
 
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Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen  understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.
 
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=Chapter Three Brief Introduction of Creative Treason=
 
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Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
 
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=3.1 Definition of Creative Treason=
 
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Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.
 
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It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).
 
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In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.
 
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=3.2 Significance of Creative Treason=
 
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Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also  brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.
 
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In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.
 
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=Chapter Four Brief Introduction of Bian Cheng=
 
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Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
 
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=4.1 Bian Cheng and its Author Shen Congwen =
 
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Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.
 
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Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.
 
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=4.2 English Versions of Bian Cheng=
 
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Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.
 
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The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.
 
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=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
 
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The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.
 
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=5.1 Personalized Translation=
 
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In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
 
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=5.1.1 Domestication=
 
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In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).
 
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Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.
 
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(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
 
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Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
 
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“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is  a  kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.
 
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(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
 
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Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
 
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During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
 
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In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.
 
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We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.
 
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−
=5.1.2 Foreignization=
 
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Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.
 
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(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
 
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Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
 
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Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
 
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It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which  are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.
 
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（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
 
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Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
 
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The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.
 
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In summary,foreignization strategy is beneficial to preserve the cultural  information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.
 
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From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.
 
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=5.1.3 Free Translation=
 
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Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.
 
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(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
 
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Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
 
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Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
 
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"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
 
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Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.
 
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(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
 
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Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
 
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Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
 
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In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.
 
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In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence"  striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.
 
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=5.2 Intentional Mistranslation and Omission=
 
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Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.
 
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=5.2.1 Mistranslation=
 
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Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.
 
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(7)Original:《边城》(Shen Congwen,1987)
 
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Translation:The Frontier City(Ching Ti & Robert Payne,1982)
 
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The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this  work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).
 
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The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).
 
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(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
 
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Translation:wharf master(Gladys Yang &Yang Xianyi,1981）
 
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Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.
 
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In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).
 
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Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.
 
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=5.2.2 Omission=
 
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Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.
 
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(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
 
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Translation:不译(Ching Ti & Robert Payne,1982)
 
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In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.
 
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(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
 
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Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
 
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“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.
 
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Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.
 
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Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.
 
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=Chapter Six Conclusion=
 
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Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.
 
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Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.
 
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=Bibliography=
 
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[1]Amold, M. On Translating Homer. New York: AMS Press Inc, 1971.
 
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= 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =
 
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===摘要===
 
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女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。
 
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===关键词===
 
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女性主义翻译理论；《红与黑》；翻译策略；司汤达
 
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===Abstract===
 
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Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on ''Le Rouge et le Noir'' mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s ''Le Rouge et le Noir'' as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.
 
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===Key words===
 
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Feminist translation theory;Translation theory;''Le Rouge et le Noir'';Stendhal
 
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===Introduction===
 
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Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in ''Le Rouge et le Noir''. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of ''Le Rouge et le Noir'' from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.
 
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====Research Background====
 
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Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.
 
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Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.
 
−
 
 
−
====Significance of the Research====
 
−
Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.
 
−
 
 
−
====About the Translators and their Chinese Translation Versions====
 
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''Le Rouge et le Noir'' as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel ''Le Rouge et le Noir'' occupies a very important position in the history of Chinese translation.
 
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Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of ''Le Rouge et le Noir'' was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that ''Le Rouge et le Noir'' is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: ''Le Rouge et le Noir'' by Mr. Zheng Kelu (published by Commercial Printing House) and ''Le Rouge et le Noir'' by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.
 
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Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's ''Selected Preface to French Short Stories'' won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and ''History of French Literature'' (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .
 
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Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of ''The Complete Works of Balzac and Memoirs of De Gaulle''. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as ''Le Rouge et le Noir''. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?
 
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−
===Theoretical Framework===
 
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Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.
 
−
 
 
−
====Origin and Development of Feministe Translation Theory====
 
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With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.
 
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====Strategies of Feminist Translation Theory====
 
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In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .
 
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“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.
 
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“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）
 
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===Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective===
 
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''Le Rouge et le Noir'' is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female  translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.
 
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====Footnoting====
 
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“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.
 
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Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）
 
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Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。
 
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① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）
 
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Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.
 
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Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”
 
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①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)
 
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Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.
 
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Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。
 
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①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)
 
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−
Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）
 
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−
Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。
 
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①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）
 
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The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions.
 
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“Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.
 
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====Supplementing====
 
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"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.
 
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Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)
 
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Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）
 
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Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）
 
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Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.
 
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Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.
 
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Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）
 
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Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）
 
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This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.
 
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Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.
 
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Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）
 
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−
Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）
 
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Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.
 
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Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .
 
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Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）
 
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Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）
 
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In the novel ''Le Rouge et le Noir'', Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.
 
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Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.
 
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In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."
 
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====Hijacking====
 
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Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.
 
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===Conclusion===
 
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Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.
 
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====Major Findings of the Study====
 
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Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）
 
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All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.
 
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====Limitations of the Study====
 
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The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.
 
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===References===
 
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[1]陈颖. 女性主义翻译理论及其在中国的影响[D].福建师范大学,2008年4月
 
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[2]哥校琴.女性主义翻译之本质[J].外语研究,2003(6)
 
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[3]耿强.西方女性主义翻译理论评述[J].西南科技大学学报（哲学社会科学版），2004（03）
 
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[4]蒋骁华.女性主义对翻译理论的影响[J].中国翻译，2004（04）
 
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[5]杨朝燕，刘延秀.女性主义翻译观的启示与反思[J].北京航空航天大学学报，2007(02)
 
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[6]周建军，张顺生.当代法国文学翻译家郑克鲁学术思想研究[J].英语广场,2019(10)
 
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[7]杨公建.《红与黑》在中国的影响及汉译研究[J].短篇小说(原创版),2013(11) :91-92.
 
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[8]《红与黑》，（法）司汤达著，罗旭译，上海文艺出版社，2007
 
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[9]《红与黑》，（法）司汤达著，郑克鲁译，北京：商务印刷馆出版，2018
 
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[10]李晨. 女性主义翻译国内研究综述[J]. 文教资料，2011
 
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[11]Babara Godard, Therorizing Feminist Discourse/Translation[A], Susan Bassnett and Andre Lefevere, Translation, Historu&Culture[C],London,Cassell,1990
 
  
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[12]Stendhal，le rouge et le noir[M], édition présentée, annotée et commentée par Catherine de La Hosserqye, Paris:Larousse,2008.
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=4李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example=
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Li Wen, 李雯, Hunan Normal University,China
  
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[13]Flotow, Louise Von. 2004. Translatuon and Gender: Taranslating in the ‘Era of Feminism’[M]. Shanghai Foreign Language Educaton Press: 29.
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[14]Lefevere, A. Translation Rewriting, and the Manipulation of Literary Fame[M]. London and New York: Routeledg, 2016.
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= 周清  A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =
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[[Theor_App_Lit_EN_5]]
  
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[15]Butler, J. Gender Trouble: Feminism and the Subversion of Identity[M]. New York: Routeledge, 1999.
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周清 Zhou Qing, Hunan Normal University,China，2016961106，法语语言文学

Latest revision as of 04:51, 16 December 2021

Translation Theories Applied to Literary Translations

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1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel Beloved Based on Catford’s Translation Shifts Theory

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付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.

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3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory

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Zhan Ruoxuan,詹若萱,Hunan Normal University,China

4李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example

Li Wen, 李雯, Hunan Normal University,China

Theor_App_Lit_EN_4

周清 A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking Le Rouge et le Noir as an example

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周清 Zhou Qing, Hunan Normal University,China，2016961106，法语语言文学

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