图式理论视角下的译者主体性研究,有助于客观公正地理解译者的翻译行为,彰显译者文化创造者的身份,肯定译者的翻译主体地位.基于图式理论,重新认识译者主体性的本质,以林纾的《黑奴吁天录》译本为研究对象,探讨译文中讹译表象下深刻的译者主体性问题,以及译者主体性的发挥如何贯穿翻译前、中、后三个阶段.具体分析了林纾译文中对原作语言的讹译、译文中对译入语文化意识的融入、对西方文化元素的刻意遮蔽而导致的讹译,实际是为彰显其文学作品再创者身份而发挥的译者主体性.同时以全局观的角度,讨论译者因对翻译文本选择的主导权、文学作品再创造的需要和社会职责践行者身份的凸显而致使的讹译,根源在于译者翻译主体身份的建立,肯定译者主体性的价值.
Research on translator's subjectivity based on schema theory provides an objective and unbi-ased understanding of the translator's behavior,highlights the translator's position as a cultural creator,and affirms the translator as the translation subject.The article re-explores the essence of translator's sub-jectivity in angle of schema theory.Taking Lin Shu's Hei Nu Yu Tian Lu(a translation of Uncle Tom's Cabin)as the object,the article explores the hidden translator's subjectivity under the misinterpretations,as well as how the translator's subjectivity is played through the three phases of before,during and after translating.The article mainly focuses on the various forms of misinterpretation exhibited by Lin Shu to demonstrate his position as the creator of literary works in terms of mistranslation to the original lan-guage,input of the target language culture,and deliberate shading of Western cultural elements,in order to effectively exert translator's subjectivity.In the meantime,the article discusses the misinterpretations caused by the translator's dominant power in the selection of translated texts,the need for the recreation of literary works,and the prominent identity of practitioners of social responsibilities,pointing out that the root lies in the establishment of the translator's subject status to affirm the value of translator's subjectivity.