On The Rewriting Of The Chinese Versions Of Lady Chatterley's Lover

Lady Chatterley's Lover, the last and also the most controversial river novel of D. H. Lawrence, has been a hot potato in the publishing as well as the critical circle in English-speaking countries for its explicit"sexual depiction". Early in 1936, Rao Shuyi translated this novel without any deletion which was the first full version of Lady Chatterley's Lover in China. Later in 2004 the People's Literature Publishing House published another full version translated by Zhao Susu.Since the 1970s, translation study has been in its diversity, which breaks through the constraints of both traditional aesthetic and modern linguistic models, and takes a cultural turn, the emphasis of translation studies is shifting from linguistic studies to extra linguistic studies, which indicates the translation is far from a practice of bilingual transfer, and many other factors are involved in the process of translation such as culture, history, ideology in the target language context. Translation is rewriting, as Andre Lefevere refers. Many factors are crucial to the process of translating such as ideology, poetics and patronage. Based on the theories of Translation Studies, the thesis will carry out a case study on Rao Shuyi's and Zhao Susu's version of Lady Chatterley's Lover from the cultural perspectives, expound the ideology, patronage, and poetics exerted on translation.To be more specific, chapter one will review the Chinese versions of Lady Chatterley's Lover that published in China in the chronological sequences, which includes versions published before 1949 after 1949. Chapter two to chapter four, the thesis is devoted to case study. Through the detailed analysis of samples from the versions, this thesis describes and analyzes the traces of rewriting in Rao shuyi's and Zhao Susu's versions from the perspective of characterization, words and settings (in this thesis only social settings are concerned), and concludes that the rewritings made by the translators in the Chinese versions are under the impact of a large number of factors besides the source text, such as ideology, patronage, and poetics.