A Study On The C-E Translations Of Nicknames In Shui Hu Zhuan From The Perspective Of Medio-translatology

In1970s, Susan Bassnett and some famous scholars began to study translation from the perspective ofculture, which promoted the literary translation to make the second important historical turning, that is, thecultural turn of translation studies. Cultural turn of translation studies makes us realize that literary translationshould not be confined to the studies from the linguistic level but to the deeper level of culture. It broadens thehorizon of translation studies and provides sound theoretical support to the possibility and rationality of creativetreason in literary translation.Literary translation is different from the non-literary translation. It is not only the transmission of theinformation of the source text but also that of the culture and is the second-time creation, which gives new life tothe source text and makes “the life” of the source text prolong in the new nation, language, historical and culturalcontext. As one of the four famous classical works in Chinese literature, Shui Hu Zhuan not only deeplyinfluences the perceptions and values of Chinese people, but also is even highly sought after by the sinologistsand people who are interested in the traditional Chinese cultures and Chinese classical literature and hasprofound influence in the West. The nicknames of the characters in Shui Hu Zhuan who have different status andtemper, like Black Whirlwind, Flea on a Drum and the Opportune Rain and so on have become popular and beenremembered and made the images of the characters molded in the novel richer and more vivid.The thesis attempts to analyze the nicknames translation in All Men Are Brothers and Outlaws of the Marsh.It analyzes the examples from the perspective of medio-translatology theory on the basis of creative treason onthe premise of carefully comparing the differences and similarities between the source text and two translatedversions by using the method of descriptive research and case study. It aims at study the specific embodiments ofcreative treason in the process of translator’s translation practice, the specific translation methods in thetranslation process of nicknames by making creative treason and the reception of the two translated versions ofthe nicknames on the basis of the creative treason made by receptor and reception context, and it also aims atprobing into the cultural information in the translation and to finally achieve the purpose of cross-culturalcommunication.Translation can not be made in “vacuum”. Translation process is always influenced by cultural andhistorical factors and the participants of the process such as translator, receptor and reception context make thetarget text produce this or that deviation and treason to the source text. So in the process of translating nicknames, translator, receptor and reception context make creative treason and different translators use different translationmethods and strategies because of their different translation purpose, principle and cultural consciousness, andthe receptor and receptor context will make different interpretation to the same objects, which leave the room forthe interpretation of cultural elements in literary works and provide possibilities for retranslation of the classicalliterary works.