Abstract
Conceptual metaphors are deeply rooted in human cognition and mind, whose verbal manifestation is the metaphorical expression. The vividness of metaphorical expressions in the linguistic level is due to the metaphoric characteristic of human thoughts. A Dream of Red Mansions, written by Cao Xueqin, contains abundant metaphorical expressions. The work has been translated into several versions by different translators and widely spread around the world. The most typical and enduring versions among them are Yang Xianyi’s and Hawkes’ translated works. In addition, since the cultural turn in translation studies appeared, the study on translator's subjectivity in the West has made much progress. In China, the study is in the ascendant.
From the perspective of translator's subjectivity, this thesis studies the translation strategies of conceptual metaphors in the two translated versions of A Dream of Red Mansions. Through analyzing various ways of expressing the same conceptual metaphor from the two great versions, it can be claimed that Yang primarily adopts the strategy of foreignization and prefers literal translation, while Hawkes principally adopts the strategy of domestication and prefers free translation of changing or omitting words. Influenced by their different preferences, Yang retains the cultural information as much as possible while Hawkes abandons some cultural information to enable the target readers to understand the whole novel better. This thesis believes, since translation is an intercultural activity, translator's subjectivity is necessarily shown on the form of the translator's cultural orientation, cultural competence and cultural attitude. And the translator's subjectivity is a most important factor of whether the translation will succeed or not. The author hopes that this thesis is helpful to English readers to study the word expression and appreciate the novel better.

Keywords   A Dream of Red Mansions   translator's subjectivity   conceptual Metaphor   translating strategy

概念隐喻根植于人类的认知和思维中，在语言上具体表现为隐喻表达式，语言层面的隐喻表达之所以清晰就是由于人类思维的隐喻性。曹雪芹作品《红楼梦》中蕴含了丰富的隐喻表达。这部作品经由多位译者翻译成不同的版本在世界广为流传，其中又以杨宪益及霍克斯(David Hawkes)两译本最经久不衰，面世以来受到广大读者的喜爱，对它们的品评文字源源不断。另外，自从翻译研究的文化转向以来，西方对译者主体性的研究取得了长足的进展，中国对译者主体性的研究也方兴未艾。
本文尝试从译者主体性的角度，分析译《红楼梦》两英译本中的概念隐喻翻译策略，本文通过分析两个翻译版本对同一个隐喻表达的多样翻译方法得出杨译多采用异化的翻译策略，偏向字面翻译，而霍译则多采用归化的翻译策略，偏向改变和省略词语的自由翻译。由于不同偏好的影响，杨译本保留了尽可能多的文化信息，而霍译本则选择舍弃一部分文化信息以使目标读者更好的理解小说内容。本文认为，由于翻译行为的跨文化性，译者主体性必然表现为译者的文化定位、文化能力和文化态度，翻译过程中译者的主体性是译品成败的重要因素。本文希望对《红楼梦》隐喻翻译策略的比较分析也能有助于英语学习者对词汇表达多样性的学习及有助于人们更好地欣赏这部小说。

关键词  《红楼梦》   译者主体性   概念隐喻   翻译策略