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关键词：创造性叛逆，省译，文化交流
CONTENTS
Acknowledgements...i
Abstractii
摘要.iii
1 Introduction 1
2 Omission in Creative Treason 2
2.1 Background and Definition of Creative Treason 2
2.2 Introduction of Omission Out of the Creative Treason 3
3 Case Study on Life and Death Are Wearing Me Out 5
3.1 Omissions Applied in Life and Death Are Wearing Me Out 5
3.2 Analysis of Collected Data of Life and Death Are Wearing Me Out 8
4 Case Study on Lang Tuteng 11
4.1 Omissions Applied in Lang Tuteng 11
4.2 Analysis of Collected Data of Lang Tuteng 15
5 The Effect and Necessity of Creative Treason on Literary Translations 17
5.1 Mo Yan, Howard Goldblatt and the Nobel Prize 17
5.2 “Going Global” Strategy for Chinese Culture 18
6 Conclusion 20
Bibliography21
1 Introduction
In accordance with the theory of Cognitive Linguistics, the nature of translation can be regarded as a cognitive activity between the author, the translator, and readers. All these three parts do interaction and communication with each other on the basis of their perception of the real world. Along with the development tendency of translation theory, scholars begin to admit the existence of inevitable gap between source language and target language caused by the difference of the real word they are living in. Aiming at the phenomenon in translation process caused by this gap, French literary sociologist Robert Escarpit put forward a conception called “creative treason”. The value of studying “creative treason” is that it reflects problems occurring during the transaction process between different cultures clearly, such as confrontation, misunderstanding and twist.
As the key point of three participants, the translator is always under dispute about their role and function. At the beginning, translators are required to fully reproduce the literal meaning and structural meaning of the source text. But the recognition of inevitable cultural gap empowers translators to use different translation methods to cope with the gap according to their judgment. The original literal work is exclusively owned by the writer; nonetheless the translation version belongs to both the writer and the translator. Although the translator cannot act as flexible as the writer, he still owns subjectivity during the translation process.
This paper probes into omission in creative treason, that is to say, using way of omission to deal with creative treason. Taking a case study on Life and Death Are Wearing Me Out and Lang Tuteng translated by Howard Goldblatt, this study aims to show how other translator deal with creative treason.
2 Omission in Creative Treason
Creative treason is a wide-ranging translation terminology, which cannot be illustrated quite clearly only in one paper, so in this paper the focus is omission in the creative treason. From the perspective of time background, it is easier to understand the concept of creative treason and omission.
2.1 Background and Definition of Creative Treason
From the angle of time background, it is a fast-paced and commercialized society now which means most readers will no longer spend so much time focusing on the choice of words and the making of sentences. Compared with classic masterpieces, modern novels put more emphasis on the readability of the book and the acceptability of readers.
According to traditional translation theories, translators are required to obey the rule of faithfulness. Nowadays, translators are endowed with the rights of subjectivity facing with creative treason and the importance of translators is valued. The process of translation is a kind of reproduction of original text, so the translation version should never be regarded as inferior to the original text. The basic function of translation is communication. So in order to ensure the readability and acceptance of readers, translators deserve to be the most initiative and independent factor in translation.