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Abstract Abstract: This study aims at discussing how the scene-frame cognitive model explains or analyzes the realization process and reasons of the translators’ subjective creativity. Based on the parallel corpus study of The Moon Opera, the study made manual annotation according to the four types put forward by Kussmaul (2006), which respectively refer to the first type as frame-into-scene(R1), the second as changing the frame(R2), the third as scene-into-frame(R3) and the fourth as being rendered by the same frame(R4). Analysis of the data shows all the four types have occurred in The Moon Opera with R1 accounting for the most and R3 the fewest, and more specifically, R1>R2>R4>R3. As for the translators’ choice of strategies during the realization process of creativity, in the examples of R1, R2 and R4 the translators mainly chose domestication while in those of R3 foreignization. The results reveal the cognitive functions of the scene-frame paradigm play a role in the process of translation, and indicate the translators’ strategic choices are made accordingly so as to ensure the accomplishment of subjective creativity.
Key Words: the translators’ subjective creativity; the scene-frame cognitive model; The Moon Opera; a parallel corpus
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