Manifestation Of Translator’s Subjectivity In Drama Translation

Drama can be treated both as part of the literary work and part of the theatrical system. Compared with other literary genres, drama bears dualistic nature which has greatly increased the difficulty of drama translation. Although few articles have been written in drama translation field, many translators, for instance Zhu Shenghao and Ying Ruocheng, have concluded their strategies and principles regarding drama translation from their first-hand experience. Together with theoretical studies, the publications of several monographs and essay collections on the subject indicate that drama translation studies have achieved considerable development.In drama translation, the dual nature of drama itself should be paid special attention, which also provides a prerequisite for translator’s subjectivity. Diachronically, the shift in the status of translator, which is from being neglected to being emphasized, has long been an evolving process. The1990s witnessed the "culture turn" in western world. Later, scholars from varied perspectives penetrate to the role of translator ceaselessly. As a result, the achievements in the subject of translation have saved the translator from an awkward situation and brought the role of translator into a full play. Though The Merchant of Venice is one of Shakespeare’s early comedies, relatively few studies have been made on its translation, and most of the existing studies have focused on the linguistic and cultural interpretation of the source text.Therefore, the thesis attempts to demonstrate the subjectivity in The Merchant of Venice, macroscopically and microscopically. In regard to the marco display, the subjectivity of Zhu Shenghao is manifested by his selecting the original text, adopting translation strategies, and choosing the target readers. From microscopic perspective, it is the re-creation that embodies the subjectivity of the translator. Specifically, the author makes a tentative study on Zhu Shenghao’s version of The Merchant of Venice by analyzing the following four parts:linguistic symbol level, artistic image level, intrinsic meaning level, and symbolic implication level, so as to emphasize the creative power of the translator. Admittedly, translator’s creativity can not be exerted without a boundary, for it is to some extent limited by other factors such as the original text, and translator’s competence in two languages. In addition, the thesis makes a preliminary study on ontology, which sheds light upon drama translation studies.