| Translators whose active role has long not been attached enough importance to are one of the subjects of literary translation. Actually, since literary translation comes into existence, translators have been playing a vital role in this kind of activity. However, traditional translation studies pays its focus of attention to the "equivalence" at the linguistic level and partly emphasizes on the utterly faithful replication of the ST so that the study of translators' subjectivity has been neglected.Since translation studies officially took its "cultural turn", the focus of translation studies has been gradually shifted from the ST to the TT and translators, from the prescriptive approach to the descriptive approach. Furthermore, translation has been put under a large cultural and historical context by "Manipulation School", therefore translation studies has been organically combined with cultural studies. Translation is not a matter of seeking the equivalence of single words any more. All these also shed new lights on the study of translators' subjectivity. This thesis, based on the retrospect of the theoretical achievements of the study of translators' subjectivity, tries to explore cases of study with Ying Ruocheng's drama versions, aiming at exploring how translators' subjectivity influences on the specific translation process.Drama can be regarded both as a kind of stage art and as a kind of literature. Such dualistic nature results in two different orientations of its translation: for reader-orientation or performance-orientation. At the same time, "Functional Equivalence" has long been the sole criterion of drama translation criticism. Such criterion, taking the performance on the stage as its purpose and the audience's response as its gist, makes the text readers in the neglected position and the creative role played by translators overlooked. The playwright always strives for performability and readability, but it is very difficult for a drama version to meet...
|
PDF Full Text Request