Abstract This paper analyzes translators’ subjectivity reflected in the process of translation by comparing the translation of the Beautiful Lady Yu by three translators, namely, Xu Yuanchong, Xu Zhongjie and Frankle. The author analyzes what is translators’ subjectivity, the development of translators’ identity and the restrictions on translators’ creativity and subjectivity, and their subjectivity is reflected in the process of reading and representing. In conclusion, translators’ subjectivity is a vital factor reflected both in the process of the reading and representing of the original text.53102

Key words: translators’ subjectivity; the translation of Ci-poetry the Beautiful Lady Yu; three versions

摘要本文以李煜的《虞美人》的许渊冲、徐忠杰和Frankel的三种译文为本，来分析主体性在翻译过程中的体现。分析何为译者主体性，译者的身份经历了怎样的变化，译者主体性和创造性是怎样的关系并且受到哪些因素的制约。通过分析三位译者对于原文的理解和表述，来展现出他们各自的主体意识。最后结论认为，译者主体性会反映在译者对作品的解读以及重建过程中，是翻译中不可缺少的。

毕业论文关键词：译者主体性；虞美人英译；三种译本

Contents

1. Introduction 1

2. Translators’ Subjectivity 2

2.1 Translator: From Periphery to Center 2

2.2 Definition of Translators’ Subjectivity 3

2.3 Creativity of Translators and Conditionality 4

3. Li Yu and his Ci Poem 5

3.1 A Brief Introduction of Li Yu 5

3.2 A Brief Introduction of Li Yu’s Ci Poem 5

4. Translator’s Subjectivity in the Process of Reading 6

4.1 Bilingual Ability 6

4.2 Bicultural Ability 8

4.3 Literary Quality 9

5. Translator’s Subjectivity in the Process of Representing 10

5.1The Purpose and Principle of Xu Yuanchong 10

5.2 The Purpose and Principle of Xu Zhongjie 11

5.3 The Purpose and Principle of Frankel 12

6. Conclusion 13

Works Cited 14

 1. Introduction

For a long time, the centre of the study of literature translation in the 20th century was the translation theory of Yan Fu, which was called “Faithfulness, Expressiveness, and Elegance”. His theory has so profound effect that many publications and textbooks cannot break the stereotyped rules. But theories like spiritual conformity raised by Fu Lei and sublimed adaptation by Qian Zhongshu have apparently opened up a new field for translation. And at the same time, the status of translator has also been discussed as faithfulness was no longer the only standard. After the cultural turn in the late 1970s, the creativity and subjectivity of the translator have been emphasized and Robert Escarpit has put forward a term “creative treason”. Venuti also called for the visibility of the translator. But the study of translator’s subjectivity really appeared in China in recent years. For example, Xie Tianzhen says that “the creativity of translation manifests the subjective efforts of the translator who tries to approach and reappear the original text” (1998: 137). Moreover, Zha Mingjian and Tian Yu (2003: 20) hold that the “translator is the subject of translation”. So far, studies on the translator’s subjectivity have the following aspects: studies on translator’s subjectivity in the written translation or oral interpretation; studies on translator’s subjectivity in the literary or non-literary translation; studies on composition and restraining factors of translator’s subjectivity; studies on relationship between translator’s subjectivity and translation tasks ,strategy and standards. Studies on the visibility and liberation of translators are raised to an important degree.  从译者主体性角度看李煜词《虞美人》的三种译本:http://www.751com.cn/yingyu/lunwen_57163.html