Hybridity In Nickname Translation In Pearl S. Buck’s English Version Of Shui Hu Zhuan

Since 1990s, there emerges a "cultural turn" in translation research field. This turn focuses on an interdisciplinary perspective through analyzing the linguistic, cultural and social elements in translations. Post-colonial translation theory belongs to one of this cultural school of translation. This thesis uses the conception "hybridity" in post-colonial translation theory to discuss Pearl’s English version of Shui Hu Zhuan. Here, the concept of hybridity refers mainly to the situation where the cultural components of source language and target language coexist in the translated text.The thesis focuses on nickname translation in Pearl’s English version of Shui Hu Zhuan, that is All Men Are Brothers and conducts an analysis on the hybrid phenomenon of her translation. Nickname, supplementing to proper names in depicting figures’ characteristics or features under certain background, contains a host of expressive techniques and cultural connotations. As one of the four Chinese great classical novels, Shui Hu Zhuan boasts itself of the use of nicknames in shaping the characters.Enlightened by the hybridity theory, this thesis classifies Pearl’s nickname translation into two branches, separately in terms of language and culture, and analyzes it from two perspectives of hybridity. To sum up, the phenomenon of highly frequent uses of hybridity in Pearl’s version is manifested in two aspects, the hybridity of Self and Other and the hibridity resulting the Third Space.