Reception Theory and Creative Treason of Literary Translator

In literary translation,creative treason or translation deviations will surely be a shadow in company with each translated work.A translator is both the reader of the source text and the producer of the target text.Applying much on Reception Theory,the present paper explores the issue of translator's creative treason in literary translation in two aspects:one is the translator's creative treason as reader and the other is the translator's creative treason as producer.

Unavoidability of Creative Treason in Literary Translation

This paper attempts to offer scholarly insight into the reasons why creative treason is unavoldaole in literary translation with theoretical support from translation skopos, descriptive translation studies, hermeneutics and linguistic analysis. Meanwhile, the author pointed out that the target text should be analyzed from various angles and more attention should be attached to the mutual influence between the source text and the target text.

Creative Treason of Moss Roberts’Allusion Translation in Three Kingdoms:A Historical Novel

San Guo Yan Yi is one of the Four Great Classical Novels of ancient China.A large number of Chinese allusions have been cited in this book,containing rich cultural connotations and national characteristics.Under the guidance of creative treason,this paper analyzes the translator’conscious and unconscious creative treason in the translation process by comparing the original allusion with the translated text and further explores the reasons of creative treason.The study has found that through creative treason in allusion translations,Moss Roberts conveyed the deeper meanings of the allusions,connecting the context closely and ensuring the readers’understanding of the whole text;but he also failed to reveal the form or the historical and cultural connotation of some allusions in the original text.

Theory of Creative Treason and Drama Translation

Due to the specific characteristic which is related to stage performance, the academic researches of drama translation have so far been limited. Before the mid 1970 s, discussions about drama translation were mainly limited to the study of the translated text of drama by applying the prescribed method of comparative analysis in order to explore the equivalence between the translation and the original. While after the mid 1970 s, researches on drama translation started to be done by applying the descriptive method. Some translation theorists and scholars began to study the translated text of drama on the background of target language culture, which had made fruitful achievements. Recently, studies on drama translation mostly paid attention to such issues as the nature of drama translation, the purpose of drama translation, the characteristics of the translated text of drama, performability and orality in drama translation, transformation of dramatic culture and the status of drama translators, etc. By applying Xie Tianzhen's theory of creative treason, this drama translation can be studied from a new perspective.

On the treason in English film title translation

Treason is the objective and inevitable phenomenon in film title translation. With the aid of functional theory, the authors attempt to have a thorough study on the treason in film title translation from four aspects： the types, the manifestations, the causes and the effects, in the purpose of improving the quality of film title translation, and arousing the academic attention on the inevitable phenomenon, treason, which was often regarded as the taboo in translation.

An Analysis of the Phenomenon of Creative Treason in Goldblatt’s Translation of Frog

Literary translation should not solely focus on“what to translate”,but also on“how to translate”,extending the perspective to the target audience and environment.It is crucial to recognize that translation involves more than rendering words;it entails navigating cultural differences and facilitating literary communication during the process of language conversion.By comparing and contrasting Mo Yan’s work of“蛙”with Howard Goldblatt’s English translation Frog from both the two aspects of language and culture and the four perspectives of alienation and naturalization,deletion and addition,processing of address and dialogues,symbols of animal cultural,this study explores the phenomenon of creative treason in literary translation,and provides a specific and in-depth analysis to offer valuable insights for the translation of Chinese literature.

Treason and Defect in Arthur Waley’s English Translation of Nineteen Ancient Poems

There must be some kind of“Deviation”between the translated text and the original one,which is called creative treason.This kind of deviation is most prominent in poetry translation.Arthur Welly is a famous British Sinologist in the 20th century,and A Hundred and Seventy Chinese Poems is his masterpiece.The English translation of Nineteen Ancient Poems is taken as an example to analyze the treason and defect in the translation.The discussion can be divided into three parts through specific induction:the lack of angle,the loss of image and the misreading of reduplicated words.Behind these superficial rebellions and defects,the hidden essence is the difference brought about by different cultures.

Creative Treason in Shirly M.Black’s Translation of Chapters from a Floating Life

Fu Sheng Liu Ji is a collection of autobiographical essays written by Shen Fu and it occupies a rather important place in the notebook literature of the Qing Dynasty,which has also been widely translated and spread abroad.So far,there have been four English translation versions.Based on the theory of creative treason,this paper analyzed Black’s English translation from the aspects of the choice of content and the restructure,culture and language.It has been found that,as a result of the translator’s conscious or unconscious creative treason,translations may have the effect of engaging readers of the target language,transmitting the culture of the source language and facilitating literary exchange,but they may also have caused misinterpretation by readers and the loss of Chinese cultural imagery.

Conscious Creative Treason and Translators' Subjectivity in Literary Translation

This paper centers on the development of translators’subjectivity by analyzing how conscious creative treason is appliedto literary translation. Based on one of the four patterns of manifestation for conscious creative treason intentional mistranslation, itis aimed to figure out dialectical unity relations between translators’subjectivity and conscious creative treason through the discus-sion on several typical cases.

A Study of Creative Treason Under the Theory of Medio-translatology

Medio-translatology is a branch of comparative literature.Creative treason is a major research field in medio-translatology.It emphasizes the subjectivity of translators and creatively solves the problem of interlingual transformation of texts.From the perspective of medio-translatology,this paper studies the phenomenon of creative treason caused by language and cultural differences in the process of Chinese-Japanese translation so as to promote cross-cultural communication.

英国哥特小说(1764—1834)在中国的百年译介

哥特小说是西方小说发展史上具有独特审美机制的文学类型。1914年霍勒斯·沃波尔的《奥特朗特城堡》以《铁冠缘》之名得到译介并连载以来,英国哥特小说在中国的译介已逾百年,经历三个阶段:清末民初仅有一部长篇、两篇短篇得到译介,但原作的文体特征和核心要素被弱化,“重写”为“哀情小说”;二十世纪八九十年代,国内学界开始重视“哥特小说”,出版社作为“赞助人”是这一时期推动哥特小说系统译介的主体;二十一世纪初哥特小说译介进入高峰期,“专业人士”和“赞助人”形成合力,学术界的哥特小说研究成果丰硕,文学史重申哥特小说的审美价值和社会价值,多家出版社系统编译出版了英国哥特小说,进入既重视学术严谨性又重视包装宣传的专业化阶段。

中世纪晚期英格兰叛逆罪适用范围的扩展及其内在逻辑

在中世纪晚期,英格兰叛逆罪是一种危及国王和王国统治的犯罪,其主旨适用于任何违反对在位国王本人应尽的效忠义务。基于此,国王、贵族与平民通过立法和司法活动,从叛逆主体、叛逆客体以及叛逆行为三个方面不断演绎出新的叛逆罪名,由此导致叛逆罪适用范围的扩展。一方面,贵族、平民对国王过度扩展叛逆罪适用范围的行为加以抵制,另一方面,贵族、平民又不时加入扩展活动中。由此,王国共同体各方力量在此问题上达成一种动态平衡,任何一方极端的扩展行为都会招致他方的抵抗。因而,中世纪晚期英格兰叛逆罪适用范围的扩展是一场由国王主导、贵族与平民参与的立法与司法活动。

识解理论视角下碑记翻译的创造性叛逆

文章从识解理论之详略度、背景、视角、突显4个维度详细分析了“宁波大学包氏教学楼群纪念碑记”两个试译本中的“创造性叛逆”现象。通过分析,作者认为在翻译碑记类公示语时译者需要准确识解出原作的意义;需要创造性地重构出符合目的语读者期待的识解方式,再建意义;译者不但要忠于原文、原作者,更需要进行“创造性叛逆”以达到忠实于译文读者、忠实于文化传播效果的目的。

变异学视域下安能务《封神演义》编译研究

从比较文学变异学的视角对日本翻译家安能务所编译的《封神演义》进行研究,译者通过对情节异置、人物重塑和题旨改写进行创造性编译,使其因应了日本读者的审美倾向和文化心理,同时又弥合了原著思想的裂隙和矛盾性。译者在编译过程中体现的创造性叛逆,对理解中日两国的文化差异具有重要意义,同时也对传统文化更新、探索中国经典文学在异国的接受路径、构建具有世界意义的中国话语体系提供了特定的启示。

论《红高粱家族》葛浩文英译本中的创造性叛逆

在文学翻译过程中,译者的创造性叛逆是一种历史性的趋势,译者对原文的理解过程,会受到语言和文化差异性等因素的影响,因此,在处理译文时,创造性叛逆便不可避免。在“创造”与“叛逆”双向融合的过程中,译者主体性的探索和作品文学性的追求得以实现。《红高粱家族》是作家莫言的代表作之一,是一部以抗战时期为故事背景的战争题材长篇小说,具有鲜明的中国时代特色,被译成多国文字,流传度很高。该文通过葛浩文先生的英译本Red Sorghum来深入分析翻译过程中对创造性叛逆的运用,有助于译者进一步理解创造性叛逆。

多模态话语分析视角下电影《满江红》台词英译中的创造性叛逆

电影作为一种集结声音、语言、文字、符号等诸多模态的多模态文化载体,是中国文化“走出去”的重要表现形式,也是代表中国向世界发出中国声音的最佳途径。20世纪90年代,张德禄所提出的多模态话语分析受到广泛关注,该理论指导的影视作品台词翻译已逐渐走进大众视野,为台词翻译提供一个新的指导理论。电影《满江红》作为中国2023年春节档上映的一部饱含家国情怀的喜剧,引发全球各界关注,其台词英译在电影观赏、文化传播方面起着至关重要的作用。因其特殊的时代背景,在英译过程要基于中华传统文化,协同字幕、声音、画面及其他模态进行翻译,最终呈现的台词一定会存在译者的“创造性叛逆”。该文基于多模态话语分析理论探析电影《满江红》中台词英译的创造性叛逆,为中国电影台词翻译研究提供一个新的思路,提高翻译质量。

论林译小说《迦茵小传》中的创造性叛逆

对照哈葛德长篇小说Joan Haste(《简·海斯特》)的原文,会发现林译小说《迦茵小传》中存在大量因文化差异、美饰原文等原因产生的误译,因删繁就简而造成的漏译,因加入注释、评述、创作而出现的增译,为营造古典意境而形成的个性化翻译等现象。通过这种"创造性叛逆"的翻译策略,林纾完成了对原作的"本土化"改造,使之既基本上合乎中国传统伦理价值观念和审美趣味,又传输了爱情自由、婚姻自主等进步思想。其文本中这种文化的中西合璧、古今通融,保证了它在近现代中国的"普适性",这是其取得成功的最大秘密。

翻译“创造性叛逆”:一种深度忠实

传统翻译忠实标准强调理想化的忠实而轻视翻译的创造性叛逆,认为创造性叛逆是对忠实标准的背叛,忠实和创造性叛逆是对立的。在梳理文献的基础上,论证了创造性叛逆忠实于翻译主体(即作者、译者和读者),忠实于文化交流和传播,忠实于翻译自身的发展,从而得出结论:创造性叛逆不仅不是对忠实标准的背叛,反而是深度的忠实。

英语电影片名汉译中的“叛逆”性

本文针对许多电影片名意译、改译的现象，借助德国功能派翻译理论来分析和解释英语电影片名汉译中的“叛逆”性，通过分析英语片名汉译中几种“叛逆”的表现和“叛逆”的误区，指出在片名翻译时要紧扣对原文文本——原片名和影片——的分析和了解，并且要严格贯彻“目的论”法则。

左、李塞防与海防之争新论

清同治、光绪年间 ,统治阶级内部在国防部署上曾有过一次塞防与海防之争。海防派以李鸿章为首 ,认为东南沿海千里海防是国防重点 ,主张弃新疆 ,专注海防。塞防派以左宗棠为首 ,主张塞防、海防并重 ,强调新疆在国防上的重要地位 ,坚决要求收复新疆。这场争论的实质是国防前线的战略部署和国家有限的财力如何分配 ;争论的焦点则是收复新疆还是放弃新疆。这场争论是公开的、正常的 ,其主张有正确与错误之分 ,其见解有高低之别 ,但不是爱国与卖国之争 ,不应因此给李鸿章戴上卖国或投降主义的帽子。