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自“文化转向”在1970年代,许多新的翻译理论和研究世界各地出现。他们中的大多数已经改变了他们的重点目标文化和举办被放上认为翻译是一种文化交流而不是一个纯粹的语言转换的过程。Since the "culture turn" in the 1970s，a great many new translation theories andstudies have emerged around the world. Most of them have shifted their focus ontothe target culture and held the opinion that translation is more of a kind of culturalexchange rather than a mere process of language transformation. Instead of taking theperspective of linguistics, translation theorists have started to identify externalelements that influence translation from a macro standpoint. Some of the mostrepresentative theories are the Skopo Theory, the Polysystem Theory, andManipulation School. Although these theories state different views and addresstranslation issues from various perspectives, they share some common features: 1)believing that the translator plays an active role in translation; 2) diverting their focusof research from meaning onto the process of the creation of meaning. As a result, therole of the translator, and the translator's cultural background and aesthetics becomethe target of their researches. These theories bring the researches on the subject oftranslation into the agenda of studies，opening new space for translation studies andproviding plenty of theoretical support for describing and addressing the translator'ssubjectivity.Even though such questions about the translator's subjectivity as "who is thesubject of translation" or "how to define the translator's subjectivity" have not yetreached a unanimous answer，in China, many scholars have showed great interestsand exerted great efforts herein. Several essays on the issue of the subject oftranslation and the translator's subjectivity are published in magazines like theChinese Translators Journal.As for the question of “who is the subject of translation", scholars have provideddifferent answers. Yang Wuneng (杨武能）has published two essays concerning thesubject of translation. The earlier one is Circulation of Interpreting, Receiving andRecreating (《阐释、接受与再创造的循环文学翻译断想》）in which he statesthat the subject of literary translation should be the author of source text，the translatorand the target reader, and the translator stands in the central position and plays themost important role.(杨武能，1987: 3) His other essay Revisiting the Subject ofLiterary Translation (《再谈文学翻译主体》)reaffirms his opinion by stating that thetranslator is the subject of literary translation and the translation is the original work.(杨武能，2003: 10)In her essay A Hermeneutic Approach to the Studies of The translator 'ssubjectivity (《文学翻译主体的i全释学研究构想》），based on the theories ofhermeneutics, Yuan Li (袁莉）puts forward that translation is not a faithJfiil renderingof the meaning of the original but rather a creative representation. In her opinion,translation is both a process of the translator actively understanding and interpretingthe source text and a presentation of the very existence of the translator himself.Therefore, the translator is the only subjective factor in translation.(袁莉；2003:74-77)In an effort to illustrate the subject in translation, Xu Jun (许I勾）tries tosummarize current opinions into four categories in his essay Creative Treason and theEstablishment of Translational Subjectivity (《“创造性叛逆”和翻译主体性的确立》).According to his point of vi本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。