摘要

传统翻译理论以原文为最高标准，要求译者严格按照原文来进行翻译工作，这就意味着译者自身对原文的理解在译文中不能得到展示，也就是说，译者被隐藏了起来。
二十世纪七十年代的文化转向使译者的地位得到了提升，在翻译过程中，译者主体性的发挥程度会对译作产生不可忽视的影响。
“三美论”是许渊冲的诗歌翻译理论。“三美”包括意美，音美，形美。作者认为三美论同样适用于散文翻译。
在本文中，作者选取了朱自清先生《荷塘月色》的一些英译，分析译者的选词在体现意美，音美，形美的同时是如何使其显身的。文中所列举的译者灵活的选词包括译者有意识地选择一些原文中没有的，带有拟人，头韵等修辞特点的词语；灵活地使用共有至少一个相同音节的词语；选用一些译文中没有体现的，看似“不相关”的词语。通过对这些选词的归类分析，说明译者在翻译过程中充分发挥自身主体性可以使自己从幕后走到台前。

关键词：译者主体性；译者显身；三美论；荷塘月色；朱自清

Abstract

According to traditional translation theory, translator was required to translate the text smoothly according to the original text which was seen as the highest principal and standard for translation. Translator’s personal interpretation was not allowed to be shown in the text. In another word, the translator must be invisible.
After the “cultural turn” in the 70s of 20th century, the inferior status of translator was promoted. Translator’s subjectivity does affect the translated work.
“Three Beauties” is Xu Yuanchong’s theory for poetry translation. It includes beauty in sense, beauty in sound and beauty in form. The author thinks it can also be applied to prose translation.
In the thesis, the author chooses some translations of Zhu Ziqing’s prose Moonlight over the Lotus Pond and analyzes how the translator makes himself/herself visible and at the same time achieve beauty in sense, sound and form of the translated work by diction. The flexible use of words analyzed mainly includes choosing some rhetorical devices which is not shown in the original text; choosing some words sharing a same sound; choosing some words which seems to be “irrelevant” with the original text while maximizing the effect of expression. By this analysis, the author drew the conclusion that during translation, translators can make themselves visible by making full use of their subjectivities.

Key words: Translator’s subjectivity; translator’s visibility; Three Beauties; Moonlight over the lotus pond; Zhu Ziqing