勒菲弗尔文学翻译理论指导下的《嗜血者》（节选）翻译报告

北京理工大学珠海学院2020届本科生毕业论文1TranslationTaskInthispart,theauthoraimstodescribethetranslationtaskfromtwoaspects.Oneistheintroductiontothesourcetext,includingtheintroductiontotheauthorandthestory.Theotheristhepurposesoftranslation.Thetotalnumberofthesourcetextisabout5,500Englishwords,whichhasbeentranslatedintoChineseabout9,600characters.Andthisnovel,BloodthirstyhasneverbeentranslatedintoChineseeverbefore.Inordertomakesurethattheaccuratetranslationcanbeaccomplished,theauthorchoosesLefevere'sliteraturetranslationtheoryasthetranslationguidancetheoryforthistranslationpractice.IntroductiontotheSourceTextThesourcetextisanexcerptfromthenovelBloodthirsty,writtenbyAmericanauthorFlynnMeaney.ThetranslationexcerptisFinbarhimselftellsaseriesofstoriesabouthischaracter,hisfamily,andhissurroundingsbeforehebecameavampire,whichledhimtochoosetobecomeone.Thisseriesofeventsmainlyhappenedinhishighschool,St.Luke's,beforehemovedinNewYork.Beforetranslatingtheexcerpt,theauthorreadthroughthewholetext,andhadacertainunderstandingandcomprehensionofthisnovel.Inthissourcetext,howtodealwithdifferentculturalbackgroundofliteraryexpressionbecomesadifficultprobleminthistranslationpractice.Theculturalbackgroundofthenovelisdifferentfromtheculturalbackgroundofthetranslator,andtheauthorofthenovelisAmerican,andthetranslatoroftheexcerptisChinese.ThecharacterandcultureofthenovelhasagreatdifferencebetweenChineseandwesterners.Sohowtotranslatetheexcerptmustfitthelanguageofthereaderandculturalbackgroundisverycritical.DuetothegreatdifferencesbetweenChineseandwesterncultures,relevantculturalandsocialbackgroundknowledgeneedstobeprepared.1.1.1AbouttheWriterFlynnMeaneygrewupinMamaroneck,NewYork,tenminutesawayfromPelham,hometothefictionalFinbarFrame.ShegraduatedfromRyeNeckHighSchool,wheresheparticipatedineverynerdyactivityimaginable,includingMockTrial,AcademicChallenge,literarymagazineandtheschoolband.Flynn'shilarioushighschoolfriendsandtheirconversationspreservedinletters,emails,andnotespassedinclasshaveprovidedendlessinspirationforherYAwriting.Herworks,BloodthirstyandTheBoyRecession.BotharesellingwellamongAmericanteenagers.Thethemesareboldandinteresting,andtheupsanddownsofthehero'sstoriesaffectthereaders'feelings.In2012,FlynnfinishedherdegreeatHunterCollegeandhersecondYAnovel,TheBoyRecession.Nowsheisonthelookoutforinspirationforherthirdbook!1.1.2AbouttheNovelThetranslationpracticeBloodthirstyisanEnglish-Chinesetranslationasaliterarytext.Somevampiresaregood.Someareevil.Somearefakingittogetgirls.FinbarFrameistheonethatfakehimselftogetgirls.Withhisbroodingnatureandweirdlypaleskin,it'ssurprisinglyeasyforFinbartopretendtobeparanormal.But,whenhemeetstheonegirlwhojustmightlikehimforwhohereallyis,hediscoversthathislifeasapseudo-vampireismorecomplicatedthanheexpected.BloodthirstyhasbeenpublishedinAustralia,inBrazilasDoceVampiro,andsooninGermanyasVampirwegendir.“FlynnMeaney'sBloodthirstybothcapitalizeson—andpokesfunat—today'svampirecraze.Finisalovablecharacterwhobravesthosehumiliatingadolescentmomentswithhumorousflair.”CarolynLessardsaid,whoistheeditorofTheAssociatedPress.TheSignificanceoftheTranslationVampiresaresupernaturalcreaturesinwesternmythology.Bydrinkingthebloodofpeopleandotherlivingthings,theycanmakethemselvesliveforalongtime.Inthewest,thevampiregenreisverypopularasanimageinpopularculture.Bramstokerportraysvampiresasgentle,intelligent,attractiveandabletocontrolthemindsoftheirvictims.Theimageofvampiresinpopularculturehasbeenfurtherfashionableandmodernized,whichisrepresentedbyTwilightseriespublishedbyAmericannovelistStephaniemayerin2005.VampiresculturehasalsoinfluencedChina.Chinesezombies,activeinHongKongfilmssincethe1980sandmimicthemainattractionofvampires.Thezombiesalsobitingthenecktosuckbloodasvictimsaretransformed.Also,Chinesezombiesareafraidofthesun.However,inChina,thereareveryfewromancenovelsaboutvampires.Therefore,theauthorhopesthatthroughthistranslationpracticecanspreadwesternpopularculture.AndChinesecangetintouchwithvampiregenre.2TranslationProcess2.1PreparationbeforeTranslationTheauthordeterminestoselectthechapter1＆2inthenovelbloodthirsty,whoseChineseversionhasnotbeenpublishedorcomeoutyet.Firstofall,theauthorbeginstoreadtheoriginalnovel,understandsthefulltext,findsoutthenovel'skeywordsanddifficultsentences.Theauthorunifiesthetranslationofnames,placesandotherpropernounstomakeaglossary.Secondly,shecollectsandreadsthematerialsaboutthenovel’sauthorFlynn'sideologicalcreationandanalyzeherliterarycreationstyle.TheauthoralsoreferredtoFlynn'sotherworks,likeTheBoyRecessionandreadpartofthechapters.TheauthorhaspreliminarilymasteredthewritingstyleofFlynnandthestylisticcharacteristicsoftheyouthromancenovels,suchasconciselanguage,moredialoguesandthecharactershavemorepsychologicalactivities.2.1.1OriginalTextAnalysisBloodthirstybelongstoyouthliterature,andloveisnotthemainlineofthenovel.Youthliteratureinvolvesschool,familyandfriendship,whileromancenovelsfocusontheprotagonist'sloveandhateentanglements.Butthenovel'smainlineisthemaleprotagonistFinbar'sexperiencebeforebecominga“vampire”andthegirlhemeetsafterbecominga“vampire”.Thisgenreoffictionismostlyreadbyteenagers.Thelanguageofthenovelisveryconcise,withrichimagination.Therefore,itisthecrucialanddifficultpointintranslationtoaccuratelygraspthenovelandconveythelanguagestyleofthenovel.Thelanguageofnovelshasthecharacteristicsofvisualization,concisenessandcolloquialism.Thenovelisbasedonpsychologicalactivitiesanddialogue,strongspokenlanguage,conciselanguage.Althoughtherearenarrativelanguageanddescriptivelanguageinthenovel,thenarrativelanguageisstillthemainlanguage,andthewordsinthenarrativelanguagehaverichassociativemeaning.Inviewoftheselinguisticfeatures,theauthorhasbeenthinkingoverintheselectionofwordsandsentencesinordertomakethetranslationconformtotheoriginallanguage'sfigurativeness,concisenessandcolloquiality.2.1.2PreparationofReferencebooksandTranslationofProperNounsTherearealsomanypropernouns,culturalwords,names,placesandforeignwordsinthenovel.Inordertotranslatetheseculturally-loadedwordsaccurately,theauthorborrowedalargenumberofreferencebooks,suchastheOxfordAdvancedEnglish-ChineseDictionary,theEnglishDictionaryofPersonalNames,theCollinsEnglish-ChineseDictionary,theAmericanHeritageDictionaryandsoon.Theauthoralsousesonlineresources,especiallyWikipedia,YoudaoandGoogle,tosolvetranslationproblems.2.2TranslationSectionTheauthorlearnstranslationtheoriesfrombooksandtheInternet,suchasAndréLefevereandSusanBassnett.Besides,sometranslationstrategiessuchasdomestication,foreignizationandliteraltranslationalsohavebeenstudied.ThemajorproblemishowtoapplyLefevere'sliteraturetranslationtheoryproperly.WhentheauthorbeginstotranslatetheoriginaltextintoChinese,therearesomedifficultiesinunderstandingandsomeprofessionalfieldslikevampireculturethattheauthorwasunfamiliarwith.Theauthorlistsupthedifficultiesandthendiscussesthemwithfriendsandthementor.2.3RevisionandProofreadingSectionTherevisionandproofreadingsectionofthistranslationtaskisself-proofreading.Peerreviewshouldconductamongclassmatesofthesamemajororschoolfellowofdifferentmajors.Totheself-proofreading,thetranslationhasbeenmodifiedaftertheauthorcheckscarefullywhetherthetranslationaccuratelydeliversthetotalmeaningoforiginalsourcetext,includingcorrectingmistranslations,omissionsandoptionaladditions.Inaddition,shecorrectstypos,checkspunctuationmarks,andrewritessentencesthatarenotcoherentorsmooth;sheparaphrasesatranslationthatdoesnotmatchthestyleoftheoriginal,etc.Whatismore,shepaysspecialattentiontonames,keepingcheckofplacenamesandensuringtheunityofstyles.Aftersubmittingit,theauthorfurtherrevisedandproofreaditaccordingtotherequirementsofthementor.3BriefIntroductiontoLefevere'sLiteratureTranslationTheoryTheCulturalTurninTranslationStudiesInTranslatingLiterature,AndreLefevere(1992),aninternationallyrenownedBelgiantranslationtheorist,initiatedtheculturalschoolanddeepenedtheCulturalTurnintranslationstudies.Hebelievedthattranslationunitsshouldshiftfrommicrowords,sentencesandtextstomacroculturalcategories,andtranslationactivitiesmustconsidertheinteractionbetweentranslationandculture.Besides,translationshouldpaycloseattentiontothewaycultureactsonandrestrictstranslation,powerrelations,ideology,mainstreampoeticsandotherinfluencingfactors.(Munday,2001:34)ManipulationinTranslationAccordingtoLefevere'stranslationmanipulationview,"manipulation"meansthatthetranslatorhastherighttorewritethetextaccordingtohispersonalneedsintheprocessofprocessingtheoriginaltextandgeneratingthetext.Hebelievesthattranslationistherewritingoftheoriginaltextandtheformofcreatinganotherimageofthetext.Otherliteraryforms,suchasliterarycriticism,biography,literaryhistory,drama,filmandsoon,arealsorewritingtheimageofthetext.Rewritingismanipulationofthetext.Rewritingistomakethetextexertinfluenceandfunctioninthespecificsocialcultureinthewaythatitmanipulatesthechoice.FourCulturalFactorsthatInfluenceTranslationLefevereputsforwardfourculturalfactorsofintranslation:“Ideology”,“Poetics”,“UniverseofDiscourse”and“Language,orIllocutionaryLanguage”.Amongthefourfactors,ideologyisthemostimportantofthethreefactors,whichmainlyreferstothetranslator'sideologyortheideologyaddedbythetranslator'spatronage.Toacertainextent,itdeterminesthetranslator'stranslationstrategyandthesolutionofculturalproblemsinvolvingtargetlanguageandsourcelanguageintheprocessoftranslation,especiallyinthecontextofcross-culturalcontext.Poeticsincludeliteraryskillssuchasstyle,archetypalcharactersandscenes,andtheconceptofliterarystatusthatdeterminestheroleofliteratureinitscorrespondingsocialsystem.Universeofdiscoursewasobjects,concepts,customsbelongingtotheworldthatwasfamiliartothewriteroftheoriginal(Lefevere,2004:41),andalsothematerialandconceptualcharacteristicsofwriter’sculture(Lefevere,2010:86).So,“Translatorsmusteithersubstituteanalogousfeaturesfromthetargetculture’suniverseofdiscourseortrytore-createtheauthor’suniverseofdiscourseasbesttheycaninapreface,infootnotes,or—whatismostfrequentlydone—inboth”(Lefevere,2010:87).Languagewasnotaninventionofwritersandspeakers(Lefevere,2006:16).Itwastheexpressionandtherepositoryofaculture,anditpreexistsitsspeakersandwriters.(Lefevere,2006:17).AccordingtoLefevere,locutionarywasalevelseriousstudentsoftranslationshouldhavereachedandnoneedtodealwithduringtheprocessoftranslation.Andtheillocutionarylevelmeanslanguageisusedprimarilyforeffect.(Lefevere,2006:17).Lefevereadvisestranslatorstotrytomeettheneedsoftargetreadersandtoconveythe“semanticinformationcontent”and“illocutionarypower”oftheoriginaltextasmuchaspossible.4CaseAnalysisoftheTranslationThefollowingpartswillintroducetheapplicationofLefevere'sliteraturetranslationtheoryduringtheauthortranslatingtheoriginaltext.ExamplesarebasedonthefeaturesoftheoriginaltextandguidedbythefourfactorsofLefevere'sliteraturetranslationtheory.Theauthorwillanalyzethematlexicalandsyntacticallevelindetail.4.1TranslationInfluencedby“Ideology”Ideologygenerallyreferstothethoughtandexplanationsystembehindmanysocialandindividualbehaviors.Therefore,theideologyoftranslationisthethoughtandinterpretationsystembehindthetranslationbehavior.Atthattime,theideologyofthesocietyactedonthetranslator'sinterventionintranslationactivities.Itaffectsthetranslator'sselectionoftexts,thedeterminationoftranslationstrategiesandtheprocessingoftranslation.However,BloodthirstyiswrittenbyanAmericanwriter,andtheoriginaltextdoesnothaveChineseelements.Besides,itsreadersareyoungpeoplebetweentheagesof12and30.Sowriter’swritingstyleisconciseandeasytounderstand.Tospreadthewesternvampireliterature,theauthorusesliteraltranslationandforeignizationtoshowthestyleoftheoriginaltext.TheideologyoftheauthorintranslatingthetextisaccordwithFlynnMeaney.Therefore,theauthorisnotrewritinginideology.4.2TranslationInfluencedby“Poetics”Poeticsdefineswhatliteratureshouldorcouldbeatagiventime.Itconsistsoftwoparts.Oneisalistofliterarytechniques,genres,themes,typicalcharactersandsymbols.Theotherisanideaofwhatliteraturehasorshouldhavedoneinthesocialsystemasawhole.However,poeticsisoftencombinedwithideology.Thepersonalpoeticsofthetranslatorandthemainstreampoeticsofthewholesocietybothplayaroleintranslationactivities.Itdeterminesthetheme,genreandskillsoftheoriginaltext,aswellastheroleoftheoriginaltextinthetargetlanguagesociety.Also,translationpoeticsplaysanimportantroleinthewholeprocessoftranslation.Anytranslationisaspecificembodimentofsomekindofpoetics,whichreflectstheacceptanceandmanipulationoforiginalworksbymainstreampoeticsofthetargetlanguagesocietyatthattime.InordertoattracttheattentionofChinesereadersandmeettheirreadingneeds,theauthorchoosestotranslatesomewordsandsentencesbydomestication.4.2.1MeetingReaders’NeedsatLexicalLevelWordscanbestreflectwhetherthetranslatorcaterstoreaders'readinghabits.Accordingtothelinguisticcharacteristicsoftheoriginaltext,thetranslationshouldbeaccurate,conciseandconformtotheexpressionhabitsofthetargetlanguage.Amongthem,theuseoffour-characterandChineseidiomsisthebestwaytoseethetranslator’sknowledgereserveandskills.Example1JennyandIwereinadarkalley.Atherfeetweredeadleaves,litter,andamangledpigeon.我和珍妮走在一条黑暗的小巷里，她的脚下满是枯枝败叶，还有一只血肉模糊的鸽子。InExample1,“枯枝败叶”，“血肉模糊”arefour-characteridioms.Iftheauthorusesliteraltranslation,example1means“她脚下是枯叶和一只扭曲的小鸽子。”andthatcannotshowthebeautyofthetargetlanguage.Thesentenceisstiff,toneisnotsmooth,andthereisnobeauty.4.2.2MeetingReaders’NeedsatSyntacticalLevelTherearehugedifferencesbetweenChineseandwesternersinthinking,culturalconcepts,livingconditionsandotheraspects,whichcanbereflectedinthedifferencesbetweenChineseandEnglish.Chineseischaracterizedbyparataxis,whileEnglishischaracterizedbyhypotaxis.TheauthorwilltranslatethetextmorefittheChinesereaders’habits.Example2They’reusuallypinnedagainstacoffinoracastlewallandsuckeddrywhiletheywritheinagonizingprotest.Version1:它们通常被钉在棺材或城堡的墙上，一边被吸干，一边痛苦地扭动着，来表达抗议。Version2:它们通常就钉在棺材或城堡的墙上，血液慢慢地从体内抽离，身体痛苦地扭动着来表达抗议。Inexample2,version2isbetterthanversion1.TherearedifferencesinsentencecompositionbetweenChineseandEnglish.Englishmoreliketousethepassivevoice.AlthoughthereareChinesewordssuchas“被”and“由”toindicatethattheactionispassive.ThisexpressionisfarlesscommonthanthepassivevoiceinEnglish.Therefore,thepassivityinEnglishoftenbecomestheinitiativeinChinesetranslation.Obviously,version2ismoreaccordwiththeChinesereadinghabits.4.3TranslationInfluencedby“UniverseofDiscourse”Lefeverebelievedthatanyliteraturemustexistinacertainsocialandculturalenvironment.Itsmeaningandvalue,aswellasitsinterpretationandacceptance,arealwaysinfluencedandrestrictedbyaseriesofinterrelatedandmutuallyreferentialfactors.Theattitudeofthetranslatorinthefaceofthediscourseuniverseexpressedintheoriginaltextandthetargetcultureshouldbeobvious.Becausevariousuniversesofdiscourseshavetheirown“certainobjects,customs,andbeliefsthoughtunacceptableintheirownculture”.(Lefevere,2010:87).Inordertocatchtheattentionoftargetreadersandarousetheirresonance,thestyleoftheoriginaltextshouldbepreservedasfaraspossible.Therefore,thetranslationstrategyshouldfocusonliteraltranslationorforeignizationtopreservethestyleoftheoriginaltext.4.3.1PreservingtheOriginalStyleatLexicalLevelThereisahugeculturaldifferencebetweenChinaandtheUnitedStates.Asmentionedbefore,vampiresaretheproductofthewest.Bloodthirstyisaboutahighschoolboywhodisguiseshimselfasavampire.Becausehefindsthatthegirlsaroundhimareobsessedwithanovelaboutvampires.Butafterhebecomes“vampire”,hemeetsagirlwholikeshimforwhoheis,notlikethevampireidentity.Althoughloveisnotthemainline,butisdrivingtheplot.However,inChina,vampiresusuallymeanzombies.Itoftenshowsinhorrormovies,andzombieshavenothingtodowithlove.IntheUnitedStates,footballisthemostpopularsport,butalsoaverycompetitivecontactsport.It’sNorthAmerica'stopfourprofessionalsports.Americanfootballwasoriginallyonlyallowedtobeplayedwiththefoot,soitwasnamedfootball.However,withthedevelopmentofthetimes,therulesandmethodsofthegameoffootballhavebeenconstantlyimproved,whichisnolongertheoriginaltime.Thenamehasbeenusedandithasnotbeenrenamed.ButinChina,itreferstothestandard11-a-sidesoccergameofconfrontation,defenseandattackonrectangulargrassfields.Example3Vampire吸血鬼Example4Footballteam橄榄球队InExample3and4,theauthorusesforeignizationstrategytotranslatevampireandfootballteam.“吸血鬼”inChinesemeanvampirenotzombie.“橄榄球队”inChinesemeanAmericanfootball.ItbringsreadersclosertotheauthoroftheoriginaltextandhelpsthembetterunderstandAmericanculture.4.3.2PreservingtheOriginalStyleatSyntacticalLevelChineseismoreflexible,aslongasthemeaningisexpressedcorrectly,thereisnolanguageandambiguity.English,ontheotherhand,followsasetpatternandhaslotsofcollocationsneedtoremember.However,inordertopreservethestyleoftheoriginalauthor,theauthorusesliteraltranslationtoretainsthemeaningoftheoriginaltext.Example5ButLukeonlyshowedupinhomeroomthreetimesayear,becausehisfootballandbasketballcoachesgavehimpassestogethimoutofeverything.Iwaslefttofendformyself.但卢克一年只在这个教室出现过三次，他的足球和篮球教练给了他通行证，让他可以不受束缚。所以我只能自己照顾自己了。Example5describestheprotagonist'snameiseasytobegivenanickname,everytimehegetsintotheclassroomtheclassmateswillcallhisnicknameinaharshtone.Hedoesnotlikeit,andhewantedhistwinbrothertosharehis"torment."Buthisolderbrother,amainstayofboththefootballandbasketballteams,wasrarelyintheclassroom.Sohehadtotakeitallonhisown.therearealotofexpressionsinChinesemeangivehimpasses,like“给他走了后门”，“给他开了特权”andsoon.therearealsomanyexpressionsinChinesemeanIwaslefttofendformyself,suchas“我只能孤军奋战了”，“终究一个人扛下了这一切”However,inordertomaintaintheoriginalstyleofBloodthirsty,theauthorchoosetouseliteraltranslation.4.4TranslationInfluencedby“Language,orIllocutionaryLanguage”Texts,bothoriginalandtranslated,achieve,oratleastintendtoachieve,theireffectontheirreadersinanumberofways.(Lefevere,2010:99)Thefinaleffectisusuallyachievedthroughacombinationof“illocutionarystrategies”orwaystomakeuseoflinguisticdevices.(ibid)Inthispart,theauthorwillfocusonannotationandamplification.4.4.1AnnotationAnnotationsplaysakeyroleonhowtointroducetheuniquenationalculturalconnotationandrelevanthistoricalbackgroundcontainedinanationallanguagetothereaders.Agoodtranslationcancompensatefortheexpressionofthework,makingthereaderscanunderstandtheoriginalworkmoredeeplyandgettingthesameartisticfeelingastheoriginalreaders.So,inordertoshowthefeelingtothetargetaudiences,theauthorusesannotationsinthistranslationpractice.Example6Thesetting,too,wastailor-made,thestuffoflow-budgethorrormoviesandMaryShelleynovels.场景就像是为我量身定做一样，也像是低成本恐怖电影和玛丽·雪莱1小说里的场景。注1：玛丽·雪莱（MaryShelley，1797年8月30日—1851年2月1日），英国著名小说家、英国著名浪漫主义诗人珀西·比希·雪莱的继室，因其1818年创作了文学史上第一部科幻小说《弗兰肯斯坦》，而被誉为科幻小说之母。Example7Therewerenosplinteredcoffins,noTransylvaniancastle,norabidbats.没有破碎的棺材，没有特兰西瓦尼亚城堡2，也没有狂犬蝙蝠。注2：特兰西瓦尼亚城堡，据称在15世纪时，嗜血的暴君，瓦拉几亚伯爵弗拉德三世被匈牙利的官员囚禁在该城堡中，也可能是爱尔兰作家斯托克的小说《德古拉》的灵感来源。Example6and7bothuseannotation.MaryShelleywasafamousfictionist.In1818,shewroteFrankenstein,thefirstsciencefictioninthehistoryofliterature.Andshewasknownasthemotherofsciencefiction.However,fortargetaudience,theyareChinese.NoteveryoneknowsMaryShelley.So,theauthorusesannotationtointroduceMaryShelleysothatthereaderscanunderstandtheoriginaltext’sculture.TheintroductionofTransylvaniancastlealsoisaexplanation.4.4.2AmplificationAmplificationistoaddsomewordsinthemeaning(orrhetoric)andsyntaxtofaithfullyandsmoothlyexpresstheoriginaltext.Ofcourse,itisnotanarbitraryadditionoutofnothing.Theadditionofwordsthathavemeaningwithouttheirwordsintheoriginaltext.Addtheimpliedmeaningorbackgroundoftheoriginaltexttomakeitmorefluent,smoothandnatural.Example8“Turnme,”Jennydemanded,lookingupatme,hereyessointensetheycouldhaveboredmeintothebrickwallbehindme.“Turnmeintoavampire.”“让我变成吸血鬼，”珍妮要求道，她抬头看着我，她的眼神似乎热切到快要把我逼进身后的砖墙里了。“把我变成吸血鬼！”Example9Tomybrother,Luke,aballofenergyandoptimism,lotsofthingswereuh-may-zing.卢克，乐观开朗、充满活力，觉得很多事情都超级有意思，用他自己的话来说就是这个世界酷极了。Example8“Turnme”actuallyhaveahiddenmeaning.Therealmeaningis“Turnmeintovampire”.Iftheauthordoes’ttranslatetheimpliedmeaning“让我变成吸血鬼”,thetranslationwillnotflowsmoothly.Example9“uh-may-zing”ismodalparticle.Justtranslateinto“超级有意思”notenough.AndhereistalkingaboutLuke,sotheauthorthinksthatonlybyreorganizingthesemanticsandusesamplificationcanitbeunderstoodcorrectlybythetargetreaders,makingthetranslationmorereadable.ConclusionBasedonthecasestudyoftheEnglish-ChinesetranslationoftheexcerptsfromBloodthirsty,thistranslationreportshowstheapplicationofLefevere'sliteraturetranslationtheoryinliterarytranslation.Accordingtotheoriginaltextauthor’swritingstyleandtheguidanceofLefevere'sliteraturetranslationtheory.Especiallytheconceptofmanipulation.Theauthoruses“ideology”,“poetics”,“universeofdiscourse”and“language,orillocutionarylanguage”toanalyzethetranslationindetail.Theresultofmanipulationhastwosides:ontheonehand,itcanintroduceforeignculturesintoourcountryandallowforeignculturestomergeintoourculture,thenconstantlyenrichourownculture.Butontheotherhand,iftheforeignizationandliteraltranslationistoomuch,ourculturewillbemarginalized.Sothetranslatorhastobalancethis.DuetoBloodthirstyiswrittenbyAmericanwriteranditswritingbackgroundisvampire.TherearenotChineseelements,sotheauthordecidestobeaccordwiththeoriginaltext’sideology.However,insomewordsandsentences,theauthorstillchoosestodomestication.BecausetheauthorisChineseandthepatronage.Tosomeextent,thetargetlanguageneedstocomplywiththeruleofmeetingthereadinghabitsofChinesereaders.Throughthistranslationpractice,theauthoralsosummarizesthefollowingexperience:Firstofall,translatorsneedtomakefullpreparationsbeforetranslatinganywork.Translationneedtocoverandknoweverything.Justbecausecoverawiderange,itisdifficulttodoaperfectjob.Therefore,translatorsneedtolookupdatamodestly,includetolookupauthorbackground,originaltextwritingbackground.Andanalyzeoriginaltextstructureandlanguageandsoon.Inaddition,translatorsalsoneedtoreaddifferentworksofthesameauthorandsimilarworksofdifferentauthorstofindtranslationsinspiration.Trytofigureouttheexpressionandwaythatshouldbechosenintranslation.Second,whentranslatingawork,translatorsshouldrelyonappropriatetheoriesandusethemtoguidethetranslation.Forexample,likethistranslationpractice,theoriginaltextistargetedatspecificreaders,youngpeople.Ithasastrongpurpose.Therefore,theauthorchoosesLefevere'sliterarytranslationtheoryasthemaintheory,supplementedbyliteraltranslation,foreignizationanddomestication.Thepurposeistoconveytheoriginalideaasfaraspossibleandachievetheoriginalwritingpurpose.Third,aftertranslatingtheselectedtext,theauthorneedtoreadthetranslationrepeatedlyandintermittently.Ifconditionspermit,theauthorcanreadittothementorandclassmates.EventhegeneralpublicwithoutanybasisinEnglish.TranslatorscanasktheformertogivetheiropinionsonthebasisoftheirprofessionalknowledgeandthelatteronthebasisoftheirChineselanguagesense.Afterthat,theauthorsortsoutandsummarizesvariousopinions,soastoconstantlyimprovethetranslationandmakeitmoreauthentic.However,theauthorshouldimproveherselffromthefollowingaspectsduringthistranslationpractice:First,theabilityofsentenceanalysisisrelativelyweak,whichmakesthetranslationverydifficult,andevensometimesmisunderstandthemeaningofthesenten