As the above discussion, Skopos theory in translation studies thinks that translation activities have certain purposes too, just like other practice. Consequently, what the translator cares much about is whether he can achieve his translation skopos. Readers’ satisfactory level has a great reflection of the realization of the translator’s own value. When the translator thinks how to choose translation texts and strategies in translation, he will consider what the readers will believe. Also, the translator will produce a good texture for readers if he takes the role as a reader. The concept of intended reader and implied reader means that the awareness of receptors should be involved in translator’s translation practice. After all, the translated texts will be read by readers, so that readers’ horizon of expectation has a decisive influence on the translator’s thinking and writing in translation.
The translator’s subjectivity is closely relative with receptors, as well as reception contexts. And readers’ awareness is affected and determined by special target language culture. “Creative Treason” in translation, literary translation in particular, reflects the translator’s awareness of target language culture to a large degree. French Robert Escarpit is the first to put forward the concept of “Creative Treason” [12]. He pointed out that translation is called as treason, that’s because translated works are placed in an unexpected frame of reference—another language; translation is as creation, that’s because it makes readers exchange literature again, and prolong the life of source text and give it the second life. In order to make the target text have the same artistic effect as the source text, the translator has to find out language device in reception contexts to mobilize and inspire the receptors to produce the same or similar imagination [13].
Translation is a special linguistic communication, dealing with cultural conflict and blend. The same object or thing has different sense while the same sense has different referent in different languages and reception contexts. The figurative of numbers is a good example. In China, many numbers are endowed with some special meanings and connotations. In Chinese the number “9” is the partial tone of “jiu (久)”, so that it’s often used to denote ever-lasting and romantic love. Thus, Chinese people often express everlasting affection with 99 roses. However, “9” is a rather common number in English culture, without deep-seated connotations. So “99朵玫瑰” is usually translated to “a big branch of red roses”, not “99 roses”. Many numbers in English is just used for rhetorical effect. Thus, they won’t be turned to concrete figures from Chinese to English translation. In addition, figurative expressions are with deep cultural sense, Chinese idiom in particular. “If an expression of a language connotes too much cultural sense, it’s not necessarily the most appropriate choice for the source language”. [14] Take the saying “Two heads are better than one” for example, it can be translated into “一人不及两人智”. But it’s mostly turned into “三个臭皮匠胜过诸葛亮” in Chinese, which is a widely known old saying. The latter translation sounds better, which accords with reader and reception contexts in Chinese better. The version “诸葛亮” is a well-known character in ancient China, which fits into the social context of the source language, for the requirement of target language culture.
To conclude, a target text is a new work in its language and cultural environment. Receptors and reception contexts are conditions and situations for the existence of target texts. Target language readers are able to receive the sense in their own historical and cultural contexts. A variety of factors in target language culture focus on the translator, impacting the whole process of translation. Generally speaking, the translator transfuses his own ideology, emotions and intelligence etc. in translation, which is derived of his culture contexts. Apart from the cultural environment of translated texts and the translator’s subjectivity, translation is to be in line with the faithful standards in linguistic level. What is hidden in culture is richer and deeper, is more valuable and worth of studying.
3 The representations of the translator’s subjectivity
As a subjective person, the translator should exert his subjective agency at every period and every place. As translation is not a simple copy of the source text, the translator doesn’t transform in linguistic level, but rather has accumulated his own fusions and cultural factors on translation. Thereby, the translator cannot just stand at the position of a reader, or of a writer. And because of the specialty of his task, the translator has multiple identities. First, the translator should conduct a careful study of the original and intervenes in the understanding of the source text. Second, the translator should be as a writer to represent the original and rewrite the translated version, considering the receptors and reception contexts of the translated version. Last but not the least, the translator takes the role as a creator. He should express the source text adhere to a special historical and cultural text, involving creativity and treason in the target text. Thus, the translator, as a subject, has to have several identities to display his subjective agency.转贴于 酷文网-论文下载中心 http://www.coolwen.net
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