On The Hybridity In Lin Taiyi's Translation Of Jinghua Yuan

The term of "hybridity", which appeared in the 17th century, was first used in the natural science, and then was brought into the fields of social science such as linguistics, literary studies and so on. After Homi Bhabha introduced it into the cultural studies, it has become an important concept of postcolonial criticism. In recent years, the concept of hybridity has become a hot topic in the translation studies. However, compared with the studies in the West, in China there are fewer systematical researches on this issue, not to mention the study on the hybridity in C-E translation. What's more, little attention has been paid to the relation between the hybridity in translation and the translator, who is the creator of the hybrid text.The object of this study is Ms. Lin Taiyi's translation of Jinghua yuan which was produced in 1964. In this thesis, with the concept of Homi Bhabha's theory of hrbridity as the theoretic perspective, the author tries to analyze the characteristics of hybridity in Lin's version in order to explore the reason for the translator to create the hybrid text and the cultural significance that she imparts to the phenomenon of hybridity.In the thesis, the author discusses Lin Taiyi's hybrid cultural identity reflected in her translation, and then analyzes the hybridity in Lin's version Flowers in the Mirror. The research results fall into the following three levels:at the linguistic level, Lin adopts the transliteration and the literal translation to reproduce the linguistic features of the source text; at the cultural level, Lin mixes the Chinese cultural elements and the Western ones by using literal translation plus annotation, liberal translation and a special method of double translation; at the literary level, Lin keeps the Chinese-specific story-telling form in her version and adds the explanatory words she writes to the translated text. Based on the analysis, the author finds that Lin's hybrid cultural identity is the main reason for the phenomena of hybridity at all three levels which are created by the translator intentionally. The hybridity, as an efficient way adopted by the diasporic translator to expound her home culture, forms a Third Space. In this space, the translator with the diasporic Chinese group that she represents becomes visible in the translation and realizes equal dialogues and communication between the source culture and the target culture.This thesis can do its due contribution to filling a research vacancy in the study on hybridity by exploring the relation between the hybridity in translation and the translator, and it also aims to attract more scholars' attention to the research in this respect.