摘要：本研究报告以汉译文学中的“改写”现象研究为题，主要以单行本图书为基础，以不同译本的对比为主要方法。在理论上借鉴文化学派翻译理论，但并不局限于文化学派。根据个案分析中的需要，灵活借鉴阐释学派、解构学派的翻译理论。目的是探讨在翻译这一不同语言中的文本在转换过程中可能存在的对原作意义的流失或者创造。绪论主要对概念界说及研究对象、理论来源和分析依据、现有研究基础做了梳理。正文以两个个案为对象进行文本细读。第一个个案通过将周瘦鹃汉译缩写本《赤书记》与原文本《红字》的对读比较，发现周瘦鹃所保留的故事骨干对于原作主题思想的偏移。重点通过汉译本对原著序言、叙述者声音、对话、心理描写、宗教及历史背景的删节造成原本故事的通俗言情化效果，周瘦鹃的误译甚至造成对原作“红字”重心的偏移。同时汉译本的效果也与译者的文学观密切相关。借此讨论汉译作品创造性转换过程中的误释，更进一步探索缩译作为汉译的一种重要呈现方式的，是对译入语文学语境快速需求的应对，以故事情节为主体的缩译及其取舍更有力地隐藏译者的文学视野、文学趣味。第二个个案《田汉译本<沙乐美>创造的“看”/“望”三角结构 ——田汉、汪宏声译本对读研究》通过两种译本对原作剧眼“look at”一词的翻译比较，突出田汉对该词的区分在结构上加深了该剧的唯美色彩，结合田汉此时对唯美主义的研究和认同，这一有意无意的区分不但体现了翻译与译者及田汉的诗学观密不可分，也体现了对原作“创造性的叛逆”。

Abstract: This research report focuses on the phenomenon of "rewriting" in Chinese-translated literature. It is mainly based on books， and uses the comparison of different translations as the main method. In theory, it draws on the translation theory of the cultural school, but it is not limited to it. According to the needs of case analysis, flexibly learn from the translation theories of the hermeneutic school and the structural school. The purpose is to explore the loss or creation of the meaning in the translation process of texts in different languages. The introduction mainly summarizes the concept definition and research object, theoretical source, and research foundation. This report peruses two works. In the first case, by comparing Zhou Shoujuan's abbreviated Chinese translation of “Chi Shu Ji” with the original text “The Scarlet Letter”, it was found that the backbone of the story that Zhou Shoujuan retained was deviated from the original theme. The emphasis is on the abridgement of the original preface, narrator's voice, dialogue, psychological description, religion and historical background in the Chinese translation, resulting in the popular romance effect of the original story. At the same time, the effect of the Chinese translation is also closely related to the translator's literary view. In this way, we will discuss the misinterpretation in the process of creative transformation of Chinese-translated works, and further explore abbreviation as an important presentation method in Chinese translation. Translation and its choices can more effectively hold the translator's literary vision and literary interest. The second case, “看” /“望” Triangular Structure Created by Tian Han's Translation Salomé: A Study on the Contrastive Reading of Tian Han and Wang Hongsheng's Translations, compares the translation of the word "look at" in the original play through two translations , highlighting Tian Han's distinction between the words and deepening the aesthetic color of the play in structure, combined with Tian Han's research and recognition of aestheticism at this time, this intentional or unintentional distinction not only reflects the literature view of the translator, it also reflects the "creative rebellion" from the original text.