Abstract This thesis focuses on the Chinese translation of Shakespeare’s bawdy language, a subject which is seldom addressed in the field of Shakespearean studies within China. Among the many works by Shakespeare, ten plays and the sonnets are taken as the primary texts and are dissected in great detail. The selected bawdy innuendoes are then distinguished into two aspects, sexual” and non-sexual” bawdy. Once categori$ed, these suggestive terms are studied and compared with their translations to identify the various relationships between the source-text bawdy and their corresponding sections in the target texts. In this study, I have adopted a descriptive approach, with the ultimate aim of finding reasons and explanations for the changes that have been made to the source text after undergoing the translation process. The first two chapters are introductions to the definition of bawdy”, the characteristics of Shakespeare’s suggestive language, previous studies on the topic and the overall theoretical framework of the present research. In chapters three and four, I will move on to present findings of a contrastive analysis of the bawdy innuendoes in Shakespeare’s texts and their translations, from the macro- and micro angle respectively. The implications of the results are further discussed in chapter five, where I seek to evaluate and expound the occurrence of specific translational behaviour by uncovering a variety of the norms” that govern the translators’ preferences in dealing with the problem. An in-depth analysis shows that the transposition of Shakespeare’s bawdy, in the Chinese context, involves a rich combination of underlying factors that exert influence on the decisions of different translators. Firstly, there is a cultural norm which prescribes the minimi$ation of bawdy elements. The norm, however, was in conflict with other types of norms that prevailed at the time of the translations. In addition, linguistic constraints arose during the transference of ribaldry, fluctuating theatrical interpretations of bawdy overtones and the subtle changes in indelicate vocabulary over the centuries all contributed to the distortion and loss in translation. Acknowledgements I am deeply grateful to my research supervisors Dr. Chu Chi-yu and Mr. Brian Holton, whose suggestions and criticisms have helped me immensely in writing the dissertation. Both of them have inspired and supported me through the last few years. A special than goes to my colleague Agnes, for her friendship and encouragement. I am also indebted to Siu Pong, for reviewing the manuscript and having endured my highs and lows. Finally, I would li e to than my beloved family, for their patience and care, and without whom my graduate wor would not have been completed. Contents Abstract Acknowledgements List of abbreviations and figures 1. Introduction and Literature Review................................................................................. 1 1.1 Introduction............................................................................................................................. 1 1.2 Previous Studies of Shakespeare’s Bawdiness in China.................................................... 4 2. Definition and Methodology.............................................................................................. 6 2.1 The Definition of “ awdy(................................................................................................... 6 2.2 Chinese Translations of Shakespeare’s Works: An Overview......................................... , 2.3 The Selection of Data.......................................................................................................... 11 2.3.1 Te.tual Sources......................................................................................................... 12 2.3.1.1 Source Te.ts.................................................................................................. 12 2.3.1.2 Target Te.ts................................................................................................... 1, 2.3.2 E.trate.tual Sources................................................................................................. 21 2.4 Shakespeare’s Bawdy: 0odes of Translation.................................................................... 22 2.4.1 Delabastita’s Model of Pun Translation................................................................ 2, 2.4.2 Translating Bawdy Puns and Non-Puns: An Ad3usted Model........................... 30 3. The Treatment of Shakespeare’s Sexual Bawdy by Translators............................ 35 3.1 Se.ual2 awdy Puns............................................................................................................... 36 3.1.1 Reproducing or Recreating Bawdy Puns............................................................... 38 3.1.2 Ma3oring on the Innocent or Bawdy Meaning..................................................... 40 3.1.3 Omissions.................................................................................................................. 41 3.1.4 Editorial Notes and Stage Instructions................................................................. 42 3.1.5 Other Translation Strategies................................................................................... 44 3.2 Se.ual2 awdy Non-Puns..................................................................................................... 4, 3.2.1 Retaining the Se.ual2 awdy Non-Puns................................................................. 48 3.2.2 Omissions.................................................................................................................. 48 3.2.3 Rendering into Innocent E.pressions................................................................... 48 3.3 Macro2level Shifts................................................................................................................. 50 3.4 Micro2level Shifts.................................................................................................................. 60 3.4.1 E.pressions Tied up with Erotic Passion............................................................. 60 3.4.2 Male and 9emale Se.ual Organs ............................................................................ 65 3.4.3 The Bawdy Punning Names................................................................................... ,3 3.4.4 The Syphilitic Puns................................................................................................... ,6 4. The Treatment of Shakespeare’s Non- exual Bawdy by Translators.................. ,8 4.1 Scatological Bawdy............................................................................................................... ,8 4.2 Other Types of Offensive Oaths....................................................................................... 84 4.2.1 Religious Cursings.................................................................................................... 84 4.2.2 Ethnic Slurs............................................................................................................... 88 5. Bawdy, Translation and Norms....................................................................................... 80 5.1 The Fluctuating Interpretation of Bawdy Overtones...................................................... 80 5.2 Linguistic Constraints and the Change of Vocabulary.................................................... 85 5.3 Norms in Translation.........................................................................................................102 5.4 Norms Pertaining to the Acceptability of Bawdiness ...................................................108 5.4.1 Se.ual Descriptions in China................................................................................111 5.4.2 Diachronic Development of Se.ual Norms.......................................................118 5.5 Translation Norms .............................................................................................................124 5.5.1 Preliminary Norms.................................................................................................125 5.5.2 Ethical Norms and Communicative Norms ......................................................131 ,. Concluding Remarks ........................................................................................................13, Notes..........................................................................................................................................138 Bibliography............................................................................................................................143 Appendix 1: The Translation of Shakespeare’s Bawdy Puns Appendix 2: The Translation Shakespeare’s Bawdy Non-Puns Abbreviations Translation: ST source text TT target text SL source language TL target language FE formal equivalence DE dynamic equivalence Shakespeare’s works: A&C Antony and Cleopatra ADO Much Ado About Nothing CE Comedy of Errors 2H4 he Second Part of Henry IV H5 Henry V HAM Hamlet LR (ing Lear MM Measure for Measure MN A Midsummer Night)s Dream MW he Merry Wives of Windsor O H Othello R&, Romeo and Juliet SON he Sonnets &C roilus and Cressida Names of translators: Bian Z.L. Bian Zhilin Cao W.F. Cao Weifeng Cao Y. Cao Yu Fang P. Fang Ping )u Z.K. )u Zhengkun Liang S.Q. Liang Shiqiu Liang Z.D. Liang Zongdai Peng J.-. Peng Jingxi Shi Y.Z. Shi Yong.hou Sun D.Y. Sun Dayu Tian H. Tian Han Tu A. Tu An