本文选取十九世纪英国汉学家翟里斯所译《聊斋志异选》 （Strange Stories from a Chinese Studio），借用彼特•纽马克的综合翻译批评程序展开译本研究：探究译者在译本中对“异”做了何种解读及建构。 第一章将《聊斋志异》放在中国文化背景下加以勾勒：1）述其作者、成书、版本流变；2)呈现作者用特殊笔法（用传奇以志怪）所勾勒出的“异”世界、“志异”的意图及《聊斋志异》在中国文学史及世界文学史上的地位。 第二章梳理《聊斋志异》在西方世界的传播，且对已有的《聊斋志异》翻译研究予以综述。重点介绍本文选取的译本《聊斋志异选》（Strange Stories from a Chinese Studio）及其译者翟里斯的汉学成就。 第三章基于译本与原作的比较，从宏观层面对译著进行分析。比较基于译著与原著宏观层面上颇为鲜明的变化展开：1)篇目的选择：整节以“异”为关注点，对翟里斯篇目的选择作深层次的剖析。通过对翟里斯所选译篇目的归类，探求其欲在译本中展现的特质；以《聊斋志异》唐梦赉序及高珩序为基础，结合郭璞《山海经》序，考察中国文学经典中“异”的立体含义及其在《聊斋志异》中的体现，进而反思翟里斯通过选择翻译篇目所展现出的对“异”的别样解读。2)异史氏曰的省略：溯“异史氏曰”之源，探讨此特殊笔法的文学功能及其在《聊斋志异》中的诗学意义，探究翟里斯做出省略背后的潜在原因及对译作言“异”的影响。 第四章对译作展开微观层面分析。首先，对原作及译作故事命名直观地做以分类，借用符号学概念对原作题名的翻译予以解读，分析翟里斯通过题名言“异”的得失；第二节通过选自《罗刹海市》、《婴宁》、《画壁》三篇故事的具体译例探究翟里斯对原作故事所体现的“异”的传达；第三节梳理翟里斯在译本中加的注解；第四节解读其附录。第五章为全篇结论。综合上述各章，对翟里斯所译《聊斋志异选》作以综合描述：翟里斯的译本将原作立体的“异”解读成平面的“异”，弱化原作“经炼意而载道”的特质，强化了其作为文学作品最基本的“认识功能”。 经过翟里斯的翻译，《聊斋志异》从“异之大观”变成了“一本在彼时反映辽阔中华大帝国之礼仪，习俗的百科全书”，成为西方世界认识中国独特文化的窗口。论文作者试图从三个方面对翟里斯在译本中所体现的侧重做以解释: 一、翟里斯及其同时代的汉学家汉学研究的重心；二、通过对翟里斯编撰的《中国文学史》脉络的梳理，察看其特质，洞悉潜藏其后的翟里斯持有的人类学文学观，从立体层面进一步解析翟里斯文学观对其跨文化交际侧重点的潜在的影响，以对其所译《聊斋志异选》做更深刻的理解；三、结合成书于同时期的林传甲之《中国文学史》，通过两本文学史脉络、收录作品及文体分类的差异，结合彼时中西方时代背景，洞悉十九世纪末中西对“小说”的不同定义，最终发现翟里斯站在西方小说的立场上完成了《聊斋志异》的翻译，使其具备了以虚构言说现实的色彩。 翟里斯在译本中所解读出的“异”，恰为“文化”在翻译的视界下本质特征的描述：文化是各民族的特色所在，常指一个民族中所特有的知识，思想及习惯；且文化表现了自我和民族的特色，不断抵抗同一的趋向。从而，翻译作为一种跨文化交际行为将与文化互补共生：翻译凸显文化的异质性，同时文化的异质性成就了翻译作为跨文化交际行为最佳的存在意义。

It is consequently two centuries, almost to the day, since the first appearance of Strange Stories from a Chinese Studio, the No.1 complete version of Liao Zhai Zhi Yi in English dress, destined to a popularity which the lapse of time seems wholly unable to diminish. Aiming at finding its alien charm as a translated work, the thesis tries to implement translation criticism by virtue of the comprehensive procedure proposed by Peter Newmark, following the hint that how was Yi transformed in Strange Stories from a Chinese Studio. Chapter 1 gives briefly the basic information of Liao Zhai Zhi Yi as the original text, namely its author, its edition evolution, its artistic features and its position in the Chinese literature history and in the world. Chapter 2 provides a review on the translation history of Liao Zhai Zhi Yi in the English world, focusing on Herbert Allen Giles and his translation Strange Stories from a Chinese Studio, then it states the current studies on Liao Zhai Zhi Yi domestic and abroad. Chapter 3 implements a study on Strange Stories from a Chinese Studio from a macro level, focusing on the significant changes from the original work to the translation. Section 1 probes into Giles’ selection of stories to be translated. Section 2 discusses on the omission of Yishi Shi Yue by tracing its origin and historical function, and then works out the intended significance for Giles’s omission in the vision of transforming Yi. Chapter 4 carries a micro level study of Giles’ translation, four sections included: on its title transformation, on its translation of story contents, on its annotations and on the appendixes. Chapter 5 gives the conclusion of the whole thesis based on the finding of the previous chapter: the complex writing styles of the original work have been dispelled, together with its moral function of “glorify virtues”, whereas through Giles rendering, Strange stories from a Chinese Studio highlights a cognitive function and focuses on the heterogeneous aspect of the original work. Accordingly, the translation has been rendered into a book of encyclopedia on china, introducing the rich and colorful social events in the faraway land of Eastern world. Then, three possible reasons are given. Giles’ efforts in translation turn out to be a perfect embodiment of the culture essence. Culture is the core feature for distinguishing nations, and it works out the most distinguished characteristics of a nation, and to be specific, it refers to the knowledge, thoughts, customs, and etc, and what’s more, unlike civilization which bears a distinctive trend of colonization, expansion and homogenization, culture embodies the ego of a nation, and it resists homogenizing. Thus finally, we will find that translation, as a kind of inter-culture communication activity highlights the heterogeneous essence of culture, and gains its existential significance from it.