【正文】 Translation Motion Theory, which explores into translator’s subjectivity embodied in the whole translation process that prises the four necessary steps, namely “trust”, “aggression”, “incorporation” and “pensation”. Chapter Four brings forth the presentation of translator’s subjectivity as displayed in the two Chinese versions from different aspects on the basis of Gadamer’s “Fusion of Horizons” Theory, which concerns translators’ strategy and approaches, their linguistic performance, artistic style and the degree of fidelity in cultural transmission. A conclusion is drawn at the end of the thesis, that is, translation, from the perspective of Hermeneutics, should be viewed as an active understanding and interpretation of the actual meaning of the original writing. Translator’s subjectivity in the act of translation is legitimate although there are certain limitations.The traditional theory of translation can hardly activate the subjectivity of the translator into full play in their translating practice。第五章為結(jié)論，即：在闡釋學(xué)理論的視域下，翻譯過程應(yīng)當(dāng)理解為譯者能動(dòng)的闡釋原文的過程，譯者主體性的發(fā)揮具有其合法性和一定的局限性。 本文共分五章。闡釋學(xué) （Hermeneutics） 是 20 世紀(jì) 60 年代后盛行于西方的哲學(xué)和文化思潮。在《名利場》的諸多中譯本中，女翻譯家楊必的譯本一向深受讀者青睞，也是難得看到的佳譯。作者簽名：　　 　 　　 日　 期：　　 　 　　 學(xué)位論文原創(chuàng)性聲明本人鄭重聲明：所呈交的論文是本人在導(dǎo)師的指導(dǎo)下獨(dú)立進(jìn)行研究所取得的研究成果。論文中除了特別加以標(biāo)注和致謝的地方外，不包含其他人或其他機(jī)構(gòu)已經(jīng)發(fā)表或撰寫過的研究成果。盡我所知，除文中特別加以標(biāo)注和致謝的地方外，不包含其他人或組織已經(jīng)發(fā)表或公布過的研究成果，也不包含我為獲得 及其它教育機(jī)構(gòu)的學(xué)位或?qū)W歷而使用過的材料。本人授權(quán)　　 　 　大學(xué)可以將本學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫進(jìn)行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存和匯編本學(xué)位論文。20世紀(jì)70年代以來，西方翻譯理論出現(xiàn)了“文化轉(zhuǎn)向”，運(yùn)用后結(jié)構(gòu)主義理論對文本的意義進(jìn)行闡述。闡釋學(xué)視角給翻譯研究注入了新的活力，帶來了新的研究視角。其中，第三章以喬治 譯者主體性。s luxuriant social satire that exposes the furious flauntiness and corruption prevailing in England during the turmoil of the Napoleonic wars. The novel led the writer to an immediate rise to his fame when it came out at the beginning of 1847. Vanity Fair is a novel without a hero that satirizes society in the early 19thcentury England. The term “Vanity Fair” originates from the allegorical novel The Pilgrim’s Progress, published in 1678 by John Bunyan where there is a town fair held in a village called Vanity. The plot of the story develops between two girls, Bechy Sharp and Amelia Sedley, who are good friends with quite different characters. The former is clever and sharp, while the latter is kind and amiable. Bechy tries all kinds of means to squeeze into the upper ten, but drifts about miserably in the end. Meanwhile, although Dobbin marries Amelia, and always treats her with great kindness, he never fully regains the love that he has once had for her. The novel is now remembered as a classic of English literature, though some critics claim that it has structural problems. The two Complete Chinese Versions and Their TranslatorsYang Bi’s translation of Vanity Fair has been widely acclaimed for a long period ever since it was published in 1959. Peng Changjiang’s version also enjoys great popularity after its publication. Both of them carry with their own uniqueness in terms of their aesthetic perceptions and distinctive emphases on the work. Yang Bi’s Translated Version of Vanity FairYang Bi’s choice of Vanity Fair derives not only from the inspiration of Fu Lei, but also from that of Qian Zhongshu, her brotherinlaw. After the successful publishing of Castle Backrent, Fu Lei suggested that it would benefit her a lot if she could translate some books by famous writers. So Yang Bi asked for advice from Qian Zhongshu. It occurred to Qian that the former translation of Vanity Fair needed improvement, therefore, he suggested that she could translate this distinguished novel for a second time. Thus, Yang Bi began her translation in 1953, meanwhile, she was an associate professor in the Foreign Languages Department, of Fudan University. She finally fulfilled this arduous task due to her devotion of all her spare time to translating this novel. The People’s Literature Publishing House was quite satisfied with her translation, when the book was to be republished in 1959. Later on when asked whether she would like to revise her own translation, Yang Bi replied, “Not a single word to be revised” (Yang Jiang，1997), because she was too weary to do anything. So Yang Bi’s decision to translate Vanity Fair, was mostly out of the encouragement of Fu Lei and Qian Zhongshu, the two special directors in her translating career.Since Yang Bi’s translation of Vanity Fair has been extremely popular among Chinese readers, there have been innumerable scholars who have exerted mendatory ments on the book. Most of them focus their attention on Yang Bi’s translation of Vanity Fair in the perspective of linguistic level, such as on the lexicon, on the syntax, on the context, etc. Xu Yuanchong says, “In my opinion, there are three famous translated works in the translation field of China in the 20th century, that is, A Complete Edition of Shakespeare’s Plays by Zhu Shenghao, Selections from Balzac by Fu Lei, and Vanity Fair by Yang Bi.” (Xu Yuanchong，2004：214) Chen Rongdong claims that “Yang Bi and Fu Lei are claimed to be two representative translators belonging to the School of Art ”(Cheng Rongdong，1997:96). Sun Zhili evaluates Yang Bi’s translation of Vanity Fair as “Her translation is faithful and expressive, also it is very elegant. Her translation is interesting and easy to understand, and readers can get the same ‘illumination, motivation and beauty’ as they read the original. ”(Sun Zhili, 1996:150) Huang Yuanshen (黃源深) mentates in his article “Talent in Translation” that “Yang Bi’s version has a particular kind of inspiration and talent that nobody else has ever matched.” (quote from Li Weihong，2002：2) He continues to declare that “Yang’s translation is so smooth, so natural, and so appropriate that it is definitely not a kind of effect that the translator intended to ‘make’, but, rather, it is a Vanity Fair that Thackeray wrote in excellent Chinese.” (quote from Li Weihong，2002：2) Yang Bi left only two translated works behind her,