Abstract:

Traditional translation theories focus on the source text and its author, which lead to keeping  the translator at the peripheral position. However, with the turn of translation studies, the subjective role of the translator has been gradually recognized. With Howard Goldblatt’s English version of Feng Ru Fei Tun ,this thesis thus intends to analyze the translator’s subjecrivity in the whole translating process.
         It is found in this thesis that the translator’ subjectivity is effectively manifested in the selection and understanding of the source text and the creation of the target text. As for the translation of various culture-loaded expressions, the translator needs to take such flexible strategies as explanation, compensation, omission and substitution for the treatment of cultural vacancy. Meanwhile, the translator is expected to respect the source text and his subjectivity can not be overemphasized without any restriction. Specific cultural differences as well as the aim of the translation may serve as the limitation of the translator’s subjectivity.

Key words: Feng Ru Fei Tun; translator’s subjectivity;culture-loaded expressions

摘要：

传统翻译理论以原文和原作者为中心，译者处于边缘地位。随着翻译研究方向的转变，译者的主体作用逐渐得到认可。本文以《丰乳肥臀》的葛浩文英译本为研究对象，探究翻译过程中译者主体性的表现。
      本文认为，译者主体性充分体现于译者的选材、理解原文、创作译文阶段。面对各种文化负载词，译者需要灵活采取解释、补偿、省略、替代等策略处理不同的文化缺省现象。同时，译者应尊重原文，其主体性不能毫无约束。特定文化差异和翻译目的也导致译者主体性受到一定局限性。

关键词：《丰乳肥臀》; 译者主体性；文化负载词

1.Introduction
1.1 A Brief Introduction of Mo Yan
Mo Yan was born to a family of farmers. He left school during the Cultural Revolution to work in an oil factory. He joined the People's Liberation Army at age of twenty, and began writing while he was still a soldier, in 1981. Three years later, he was given a teaching position at the Department of Literature in the Army's Cultural Academy.