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摘 要： 安德烈勒菲弗尔改写理论强调在社会文化的范畴内进行翻译实践，翻译是一项复杂的活动，绝不是简单的语言间的转换，只有适用特定的意识形态，诗学并在赞助人的影响下，才能被目的语读者接受。改写理论为林纾的"误译"正名，为其提供了合理存在的理论依据。
关键词： 改写理论 意识形态 诗学 赞助人
On Andre Lefevere's Rewriting Theories
1.Theory introduction and illustration
Andre Lefevere's main translation theories are refraction and rewriting. He defines refraction as "the adaptation of literature works to a different audience， with the intention of influencing the way in which that audience reads the work" （1992）.
Rewriting is coined for translation studies need to tackle social-cultural， ideological and literary constrains. Rewriting fits in with the development of literary translation and readers' needs. Since non-professional readers of literature are now exposed to literature more often by means of rewriting. The author here cites a case in point to illustrate its importance. The poetry of John Donne remained relatively unknown for few decades but it was catapulted to a hit after rediscovery by T.S. Eliot and other modernists. Rewriting is obviously the answer to this problem.
As for the aim of study on rewriting， people now "exits in the most manipulative culture human beings have ever experienced" （Scholes 1985）， and studying rewriting will not teach people to write well， but it serves as a model that enables them to see through the manipulation of texts in all kinds of media.
In the process of rewriting， there are three manipulating factors， namely ideology， poetics and
patron. Ideology is the synonym of form， convention， and belief and it is multi-faced and influences not only the selection and understanding of the source text， but also the expression and reception of the target text. Living in late Qing Dynasty， Lin Shu was inevitably influenced by gender discrimination which was reflected in his works. Take dialogues between Mrs. Shelly and Mrs. Shelly's husband from Uncle Tom's Cabin for example， "Mrs. Shelly's husband， 'you are cold and all in a shiver， you allow yourself to feel too much'； Mrs. Shelly 'feel too much！ Am not I a woman-a mother？'" Mr. Lin rendered the dialogue into "吾悲女流，性情不如丈夫堅壮，动辄生畏" （Zhang 2009）. However， the dialogue took place that Mrs. Shelly heard of her husband having sold Eliza's son to a slave owner. As a woman and a mother， she was sympathetic to Eliza. Nevertheless， driven by gender discrimination that women were fragile and underprivileged， Lin did not take the real background into consideration. Patron is defined as something like powers that can further or hinder rewriting （Lefevere 1992：15）. Such powers can take on forms of individuals and institution. First of all， the individual patron-interpreter， will be discussed with regards to Lin's translated works. Not all Lin's works were of quality and it should partly blame those interpreters who cooperated with Lin， since he was a stranger to foreign languages. Apart from individual patron， publishing house should not be neglected， either. Lin cooperated with the Commercial Press after his first translated novel La Dame aux Camelias got a huge success in China. The Commercial Press adopted two ways to popularize Lin's works， the one in separate editions， the other in magazines. Therefore， it is safe to say that Lin's translated novels wouldn't be so popular without the patronage of the Commercial Press and interpreters.
Poetics is a code of behavior and consists of genre， certain symbols and an ideal of how literature has to， or may be allowed to， function in society. In Lefevere's opinion， poetics does not merely refer to the norms of literature techniques but also the social role of literature. The following examples are illustrated from these two aspects. For one thing， in order to cater to China's traditional ethics like filial piety， reverence for elder brothers， loyalty and faith， Mr. Lin eliminated some religious segments. In the preface to Uncle Tom's Cabin， it says that the source book is written for Americans who believe in Christian. However， the translator is a nonreligious Chinese so he is sorry for the deliberate omission. Hence， it is social role of literature in China that results in Lin's deliberate omission. For another， Lin's long-term classical education background resulted in his preference for classical Chinese in his rendition. In his mind， the vernacular language was used by those vulgar people. In Uncle Tom's Cabin， there were lots of Negro English expressions which were featured by colloquialism and grammar mistakes， but Lin made no hesitation to adapt them to elegant classical Chinese， which was his norm of literature technique.
2Reflection on Lin Shu's translation from the perspective of rewriting
Although Lin's translated works served as a window for Chinese people to understand foreign culture， they have long been controversial for misinterpretation or unfaithfulness. But in the light of rewriting theory， Lin's translation was an outcome of his intentional option to give original works a second life which was manipulated by ideology， poetics and patrons at that time. What's more， the vitality of translation should be the criteria for translation quality. Li's works enjoyed popularity in the past and even now they are still being studied by scholars. They will undoubtedly influence more people in the future. 3 Comments on rewriting theory
Lefevere sets a framework with his rewriting theory in perception of the interaction between translation and other broad factors. Translators rewrite the originals to make them fit in with the dominant ideological， poetical current and the need of patrons. Rewriting theory， to some extent， legalizes translators' dynamic role and offers a new perspective for translation interpretation.
However， it overemphasizes rewriting and cultural factors， so it completely subverts loyalty in terms of textual equivalence and ignores ST's value. Besides， it lacks of practicality since it focuses on macro-depiction but translation practice needs conducting on the level of sentence and text. Rewriting theory does not attach due importance to translators' initiative and exaggerates manipulation； meanwhile it neglects translators' anti-manipulation ability. To sum up， rewriting theory should be studied in a dialectical way.
Works Cited
Lefevere， Andre. Translation， Rewriting and the Manipulation of Literary Fame. London& New York： Routledge， 1992.
---. "Mother Courage's Cucumbers： Text， System and Refraction in a Theory of Literature" in The Translation Studies Reader. London& New York： Routledge， 1992.
Scholes， Robert. Textual Power. New Haven and London： Yale University Press， 1985.
張芸：《从改写理论看林纾的有意误译》，载《湖南第一师范学报》，2009年第九卷第1期，第127-128页。
作者简介：尹永超，女，中国人民大学2012级，外国语学院，硕士，翻译理论与实践；陶建平，男，中国政法大学 2012级，法律硕士学院，硕士，法律硕士。
关键词： 改写理论 意识形态 诗学 赞助人
On Andre Lefevere's Rewriting Theories
1.Theory introduction and illustration
Andre Lefevere's main translation theories are refraction and rewriting. He defines refraction as "the adaptation of literature works to a different audience， with the intention of influencing the way in which that audience reads the work" （1992）.
Rewriting is coined for translation studies need to tackle social-cultural， ideological and literary constrains. Rewriting fits in with the development of literary translation and readers' needs. Since non-professional readers of literature are now exposed to literature more often by means of rewriting. The author here cites a case in point to illustrate its importance. The poetry of John Donne remained relatively unknown for few decades but it was catapulted to a hit after rediscovery by T.S. Eliot and other modernists. Rewriting is obviously the answer to this problem.
As for the aim of study on rewriting， people now "exits in the most manipulative culture human beings have ever experienced" （Scholes 1985）， and studying rewriting will not teach people to write well， but it serves as a model that enables them to see through the manipulation of texts in all kinds of media.
In the process of rewriting， there are three manipulating factors， namely ideology， poetics and
patron. Ideology is the synonym of form， convention， and belief and it is multi-faced and influences not only the selection and understanding of the source text， but also the expression and reception of the target text. Living in late Qing Dynasty， Lin Shu was inevitably influenced by gender discrimination which was reflected in his works. Take dialogues between Mrs. Shelly and Mrs. Shelly's husband from Uncle Tom's Cabin for example， "Mrs. Shelly's husband， 'you are cold and all in a shiver， you allow yourself to feel too much'； Mrs. Shelly 'feel too much！ Am not I a woman-a mother？'" Mr. Lin rendered the dialogue into "吾悲女流，性情不如丈夫堅壮，动辄生畏" （Zhang 2009）. However， the dialogue took place that Mrs. Shelly heard of her husband having sold Eliza's son to a slave owner. As a woman and a mother， she was sympathetic to Eliza. Nevertheless， driven by gender discrimination that women were fragile and underprivileged， Lin did not take the real background into consideration. Patron is defined as something like powers that can further or hinder rewriting （Lefevere 1992：15）. Such powers can take on forms of individuals and institution. First of all， the individual patron-interpreter， will be discussed with regards to Lin's translated works. Not all Lin's works were of quality and it should partly blame those interpreters who cooperated with Lin， since he was a stranger to foreign languages. Apart from individual patron， publishing house should not be neglected， either. Lin cooperated with the Commercial Press after his first translated novel La Dame aux Camelias got a huge success in China. The Commercial Press adopted two ways to popularize Lin's works， the one in separate editions， the other in magazines. Therefore， it is safe to say that Lin's translated novels wouldn't be so popular without the patronage of the Commercial Press and interpreters.
Poetics is a code of behavior and consists of genre， certain symbols and an ideal of how literature has to， or may be allowed to， function in society. In Lefevere's opinion， poetics does not merely refer to the norms of literature techniques but also the social role of literature. The following examples are illustrated from these two aspects. For one thing， in order to cater to China's traditional ethics like filial piety， reverence for elder brothers， loyalty and faith， Mr. Lin eliminated some religious segments. In the preface to Uncle Tom's Cabin， it says that the source book is written for Americans who believe in Christian. However， the translator is a nonreligious Chinese so he is sorry for the deliberate omission. Hence， it is social role of literature in China that results in Lin's deliberate omission. For another， Lin's long-term classical education background resulted in his preference for classical Chinese in his rendition. In his mind， the vernacular language was used by those vulgar people. In Uncle Tom's Cabin， there were lots of Negro English expressions which were featured by colloquialism and grammar mistakes， but Lin made no hesitation to adapt them to elegant classical Chinese， which was his norm of literature technique.
2Reflection on Lin Shu's translation from the perspective of rewriting
Although Lin's translated works served as a window for Chinese people to understand foreign culture， they have long been controversial for misinterpretation or unfaithfulness. But in the light of rewriting theory， Lin's translation was an outcome of his intentional option to give original works a second life which was manipulated by ideology， poetics and patrons at that time. What's more， the vitality of translation should be the criteria for translation quality. Li's works enjoyed popularity in the past and even now they are still being studied by scholars. They will undoubtedly influence more people in the future. 3 Comments on rewriting theory
Lefevere sets a framework with his rewriting theory in perception of the interaction between translation and other broad factors. Translators rewrite the originals to make them fit in with the dominant ideological， poetical current and the need of patrons. Rewriting theory， to some extent， legalizes translators' dynamic role and offers a new perspective for translation interpretation.
However， it overemphasizes rewriting and cultural factors， so it completely subverts loyalty in terms of textual equivalence and ignores ST's value. Besides， it lacks of practicality since it focuses on macro-depiction but translation practice needs conducting on the level of sentence and text. Rewriting theory does not attach due importance to translators' initiative and exaggerates manipulation； meanwhile it neglects translators' anti-manipulation ability. To sum up， rewriting theory should be studied in a dialectical way.
Works Cited
Lefevere， Andre. Translation， Rewriting and the Manipulation of Literary Fame. London& New York： Routledge， 1992.
---. "Mother Courage's Cucumbers： Text， System and Refraction in a Theory of Literature" in The Translation Studies Reader. London& New York： Routledge， 1992.
Scholes， Robert. Textual Power. New Haven and London： Yale University Press， 1985.
張芸：《从改写理论看林纾的有意误译》，载《湖南第一师范学报》，2009年第九卷第1期，第127-128页。
作者简介：尹永超，女，中国人民大学2012级，外国语学院，硕士，翻译理论与实践；陶建平，男，中国政法大学 2012级，法律硕士学院，硕士，法律硕士。