译者主体与语言风格传递——鲁迅《伤逝》六英译本对比

Translator＇s Subjectivity and Stylistic Transference of Lu Xun＇ SHANG SHI

在传统翻译观念中，译者常被定位为“仆人”，其边缘化的地位未曾根本改变。自20世纪70年代始，翻译研究的“文化转向”就将译者从“带着脚链的舞者”解脱而成为“自由舞者”，并逐步确立了译者翻译活动的主体地位，但翻译作为“传递”的艺术，文学作品的语言风格也必然成为译者理解和传达作品的核心。通过对鲁迅小说《伤逝》六英译本（蓝诗玲译本、莱尔译本、伊罗生译本、杨宪益、戴乃迭译本、王际真译本和陈立民译本）的对比分析，结合六位译者的翻译观，透析译者主体性下译作对原作语言风格的传锑。

Traditionally, the translation role of translators is identified as the ＂servant＂, which evidently indicates the mar- ginal status of translators. Since 1970s, the ＂culture turn＂ of translation study has emancipated the translator from the ＂fet- tered dancer＂ to the free dancer＂, and has gradually set up the translator＇ s subjective role. Translation, however, as the art of ＂transitivity＂, necessitates the language styles of literary writings serving a dominant role in understanding and trans- mitting the context. This paper compares and contrasts the six English versions of SHANG SHI by Lu Xun （ Julia Lovell＇ s, William A. Lyell＇ s, Harold R. Isaacs＇ s, Yang Xianyi ＆ Gladys Yang＇ s, Chi -Chen Wang＇ s and Chen Limin＇ s respec- tively）, combining their different translating perspectives, and subsequently concludes that translator＇s subjectivity per- forms an essential role in transferring language styles of source text.