"Creative Treason" In Howard Goldblatt's Translation Of Hsiao Hung

Since the 1970s,translation studies have experienced a "culture turn",and some literary theories such as post-colonialism,feminism,neo-historicism and so on are borrowed to make explorations in translation studies.Scholars begin to pay attention to the existed texts and the concept "creative treason" emerges under this circumstance.It was put forward by French literary sociologist Robert Escarpit in his book Sociologie de la Literature(The Sociology of Literature)in 1958.According to Escarpit,translation is always a sort of creative treason.Later,it was enriched and developed by comparative literature scholars,such as Paul Van Tieghem,Marius-Francois Guyard,Yukio Otsuka,Ulrich Weisstein and so on.Xie Tianzhen introduced it into China in 1992 and gave a detailed exploration in his book Medio-translatology in 1999,arousing much attention.Howard Goldblatt is acknowledged to be "the chief translator introducing modern and contemporary Chinese literature to western countries",translating more than fifty works of Mo Yan,Yang Jiang,Hsiao Hung and so on.The long-term translation practice helps to form his own translation ideas:the translation motivation is interest;fidelity,creativeness and treason are all important translation criteria;translation is a process of rewriting and cross-cultural communication;the translation result is often inadequate.Hsiao Hung is a writer whose writing content and style are pretty unique,but she had been ignored for a long time by domestic and foreign scholars.Goldblatt "discovered"Hsiao Hung and translated many of her works.But to our regret,there is few detailed study of his translation of Hsiao Hung.The thesis adopts both qualitative and descriptive study methods and gives a detailed comparative study of Hsiao Hung's The Field of Life and Death and Tales of Hulan River and Goldblatt's English versions.Chapter One is the review of the study of creative treason and Howard Goldblatt both at home and abroad.Chapter Two and Chapter Three give a detailed introduction of creative treason and Hsiao Hung.Chapter Four analyzes the creative treason in the translation of the two novels from the perspectives of both content and style with a lot of examples.It demonstrates the unavoidability of creative treason in literary translation,further reflects on the relationship between fidelity and creative treason in translation,as well as shows that creative treason is a part of descriptive translation rather than a translation principle or criterion.Finally,the author points out the limitation of this project and gives suggestions for later study.