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摘要本文选取弗吉尼亚伍尔夫的准自传体意识流作品《到灯塔去》为原文，瞿世镜，马爱农两个汉译本为研究对象，通过对比两译者在各自译本中的不同表现，具体分析造成两个译本差异的主体性因素，包括作者所处年代，译文风格，翻译策略及方法，证明译者主体性的存在，彰显译者主体性的体现方式。19189
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关键字 译者主体性 到灯塔去 瞿世镜 马爱农
毕业论文外文摘要
Title A Study on Manifestations of Translator’s Subjectivity in Two Chinese Versions of To The Lighthouse
Abstract
This thesis chooses Virginia Woolf’s masterpiece To the Lighthouse and two Chinese versions by Qu Shijing and Ma Ai’nong as study objects. By comparing the different manifestation in the Chinese versions, this thesis analyzes the subject factors in translating, including the ages, translating styles and methods, in order to prove the existence of translator’s subjectivity.
This thesis emphasizes the existence of translator’s subjectivity and the importance of the translators. Each version is the product of the translator and the original author and each version should be respected.
Keywords Translator’s Subjectivity To the Lighthouse Qu Shijing Ma Ai’nong
Table of Contents
1 Introduction 1
2 The Translator’s Subjectivity..1
2.1 The Previous Study of the Translator’s Subjectivity. 1
2.2 Study of the Translator’s Subjectivity in Specific Cases3
3 Introduction of To the Lighthouse and Its Two Chinese Versions.4
3.1 Original Author and Source Text...4
3.2 Two Chinese Versions.5
4 Manifestations of the Translator’s Subjectivity in the Two Versions6
4.1 In Choosing the Source Text6
4.2 In Translating Proper Names and Common Words7
4.3 In Expressing the Features of the Source Text..10
4.4 In Dealing With Cultural Elements..13
Conclusion 16
Acknowledgments17
Bibliography18
1 Introduction
Translation serves as an important role in cultural, political and economical communication between the western world and China. There used to be the translation criteria called “faithfulness, expressiveness and elegance” that guided a lot of translators in the process of translating. What translators needed to do was translating the original text word to word in a linguistic aspect and faithfully conveying the meaning of the author. Translators on that occasion would not add their ideas and feelings towards the original masterpiece. So the translator used to be regarded as “conquer” “painter” “matchmaker” “Prometheus” and “translation machine” etc (Tu Guoyuan, Xiao Jinyin, 1998). As the translation has developed, scholars abroad and at home began to pay more attention on translators themselves. With the “cultural turn” turned up in the 1970s, translation theories facing target-language culture emerged, such theories including Polysystem Theory, Manipulation School, Skopos Theory, Deconstructionism and Feminist Translation Theory. The cultural turn was a movement to make contemporary debates focus on culture. And in the field of translation studies, the cultural turn has made translation studies from semantic level to cultural level and has highlighted the translator as the leading role in the process of translation. Those translation theories broke through the fence of source language oriented theories and turned to the target language oriented translation studies (Ji Yu, 2009). Therefore, the “equivalence” translation standard was challenged. The subjectivity of the translator emerged and was gradually discussed in the translation theory of this era. This paper intends to further discuss the translator’s subjectivity and use To the Lighthouse (2006) and its two Chinese versions to specifically show the existence of the translator’s subjectivity and the effect it would cause in the process of translation.