A Study On Yang Bi's Version Of Vanity Fair From The Perspective Of Medio-translatology

Literary translation itself is an art for it makes a literary work obtain a new life in a new language,new country and new historical environment.Professor Xie Tianzhen is first to put forward Medio-translatology in China.He indicates that literary translation gives readers a completely new work created in the different environment.It is quite complicated for literary translation to transmit information beyond nations,languages and cultures.Compared with other documentary materials,excellent literary works always contain much aesthetic information.Translators are responsible for vividly representing these information in distinctive translations in accordance with their own aesthetic consciousness and creative experience.When a literary work is transplanted into another culture environment,the translator has to find out the same or similar methods in the target environment to motivate the readers to have the similar feeling about the original work.William Makepeace Thackeray was a critical realist in Britain,who was well-known for his representative work Vanity Fair.Without a hero,the novel follows the fortunes of two different but inter-linked lives: Becky Sharp and Amelia Sedley.The corrupt government and the intrigue in society have been exposed completely in this novel.In the early twentieth century,the novel was introduced into China.Later,various Chinese translations emerged infinitely,among which Yang Bi's version was most remarkable.Her version was appreciated by readers and translators,which was hailed as a classic translation.Her choice of words and expressions were elegant and smooth.Many domestic scholars have already studied her version from different perspective.But,the study on Vanity Fair has been still restrained on linguistic level.Few studies are made from the perspective of Medio-translatology.Therefore,this thesis attempts to focus on Yang Bi's version and from the approach of Medio-translatology make further demonstration that the artistic aesthetics in literary translation can be represented by creative treason.Meanwhile,with specific examples it concludes translation strategies applicable for literary translation and shows cultural factors influential on the popularity of Yang Bi's version.