Translation Theories Applied to Literary Translations
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
付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.
Fu Hongyan，付红岩，Hunan Normal University,China
3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory
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）
Theor_App_Lit_EN_3
Li Wen, 李雯, Hunan Normal University,China
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.
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.
But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.
2.2 Studies of Bian Cheng at Home and Abroad
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.
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.
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.
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.
Chapter Three Brief Introduction of Creative Treason
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.
3.1 Definition of Creative Treason
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.
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).
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.
3.2 Significance of Creative Treason
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.
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.
Chapter Four Brief Introduction of Bian Cheng
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.
4.1 Bian Cheng and its Author Shen Congwen
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.
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.
4.2 English Versions of Bian Cheng
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.
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.
Chapter Five On the Creative Treason in English Versions of Bian Cheng
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.
5.1 Personalized Translation
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.
5.1.1 Domestication
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).
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.
(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。 Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982) “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.
(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)! 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) 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. 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.
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.
5.1.2 Foreignization
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.
(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。 Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981） 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. 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.
（4）Original:悖时砍脑壳的(Shen Congwen,1987)! Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009） 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.
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.
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.
5.1.3 Free Translation
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.
(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)。 Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982) Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981） "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. 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.
(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)! Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981） Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009) 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.
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.
5.2 Intentional Mistranslation and Omission
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.
5.2.1 Mistranslation
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.
(7)Original:《边城》(Shen Congwen,1987) Translation:The Frontier City(Ching Ti & Robert Payne,1982)
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).
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).
(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987) Translation:wharf master(Gladys Yang &Yang Xianyi,1981）
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.
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).
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.
5.2.2 Omission
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.
(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987) Translation:不译(Ching Ti & Robert Payne,1982) 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.
(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)。 Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981） “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.
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.
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.
Chapter Six Conclusion
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.
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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周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking Le Rouge et le Noir as an example
摘要
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。
关键词
女性主义翻译理论；《红与黑》；翻译策略；司汤达
Abstract
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.
Key words
Feminist translation theory;Translation theory;Le Rouge et le Noir;Stendhal
Introduction
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.
Research Background
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.
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
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. 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.
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 .
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?
Theoretical Framework
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
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.
Strategies of Feminist Translation Theory
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 .
“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.
“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.）
Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective
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.
Footnoting
“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.
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）
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。
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）
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.
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。”
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)
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.
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。
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)
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）
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。
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）
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. “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.
Supplementing
"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.
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)
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）
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）
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.
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.
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）
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）
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.
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.
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）
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）
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.
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 .
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）
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）
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.
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.
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."
Hijacking
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.
Conclusion
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.
Major Findings of the Study
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.）
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.
Limitations of the Study
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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