A Study On Translator's Creative Treason In The English Translation Of Niezi

Translation is a process of transformation or conversion;it is an approach for exchanging information between two different cultures.In the process of translation,there must be linguistic and cultural divergences,and hence there must be unavoidable loss,addition or twist when the translator deals with the cross-language information.In light of this,French literary socialist Robert Escarpit put forward the theory of "creative treason",which believes translation is always a kind of creative treason.In the traditional translation study,translators are treated as traitors and their values are denied.The theory of creative treason,however,recognizes the translator's career and approves the literary value of translated works.It pulls the translator to the front of his/her translated work,turning him/her from "invisible" to "visible".The translator obtains the power to have an equal conversation with the original author and the readers,which provides a new perspective to re-examine the nature and task of translation as well as the subjectivity of a translator.For a responsible translator,subjectively he/she would spare no effort to realize one hundred percent faithfulness to the original work;nevertheless,it is an impossible mission in real practice.The differences between the original work and the translated work are bound to exist,and it is them that make "creative treason" doomed to appear in the process of translation.The creative treason theory admits such indelible differences,addresses the issues of translation's position in target language,its spreading,effect,significance and so forth.The theory also demonstrates the attributes and roles of translated literature,turning the researchers' attention from the source culture to the target culture.In 1990,Howard Goldblatt's translation of Bai Xianyong's Niezi was published under the English name Crystal Boys.His creative and flexible adjustments to the original novel earn the translated work a great deal of English readership.In the original Chinese novel,Bai Xianyong's abundant application of specially-formed words(like reduplicated words)and culture-loaded words(like idioms)is one of the most distinctive and typical features.How these words are translated and re-organized in the English translation can fully expose Howard Goldblatt's translation thoughts,strategies and concrete methods.Therefore,the author of this thesis pays more attention to the translator's creative treason in word translation.Through the comparative analysis between the original source text Niezi and its English translation,this thesis mainly explores the ranslator's creative treason(including individualized translation,abridged translation and edited translation)in the translation of reduplicated words,onomatopoeic words,appellations and idioms.This thesis examines the interpretation of creative treason in the English translation of Niezi,and verifies the necessity and value of creative treason in literary translation.It is found that the translator flexibly combines the methods of liberal translation,literal tran lation,transliteration,deletion and addition to cope with those words and word groups for a more natural and smooth translation.In the meantime,on the basis of the comparative analysis,this thesis ponders over the effective translation strategies and methods during the process of translating Chinese literature into English,and brings forward some views and suggestions for tanslators,original writers and original works,hoping to offer instructions for the future literary translation and relative studies,and to bring some implications to Chinese literature's going global.