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本文以传统伪翻译理论为基础,结合巴萨奈特的翻译观认为伪翻译虽然失去了原有的意义,但我们可以赋予其新的意义,以此来解除某些倾向于创作的翻译的尴尬地位。林纾的翻译就是这样一种尴尬而典型的存在,林纾用古文翻译西方小说,因其不审西文,口授手追的合作翻译方法使其译本中不可避免地出现个人创作的影子,这不免遭人诟病。本文认为,在晚清翻译草创阶段,林纾对其译本或有意无意地个人创作与改写无可厚非,与其质疑林译小说的忠实性,不如将林译本视为一种可接受的、具有伪翻译倾向的文类,关注其在翻译过程中主体意识的介入的程度,这对翻译研究的文化转向具有重要的意义。
Based on the traditional pseudo-translation theory and combined with Basannet’s translation concept, this dissertation considers pseudo-translation lost its original meaning, but we can give it new meaning in order to relieve some of the embarrassing translations that tend to be creative . Lin Shu’s translation is such an embarrassing and typical existence. Lin Shu’s translation of ancient novels into Western novels, because of his lack of examination of the Western, dictates the co-translation method so that the translation of his own shadow inevitably appear, which Can not help but be criticized. This paper argues that in the late Qing translation grassroots stage, Lin Shu’s translation or intentional or unintentional personal creation and rewriting is understandable, rather than questioning the faithfulness of Lin’s novels, treat Lin’s translation as an acceptable and pseudo-translational tendency , And pay attention to the extent of its involvement in the process of translating the subject consciousness, which is of great significance to the cultural shift of translation studies.