以往的翻译理论研究着重于原文与译文语言的静态对比。近些年,比较文学将翻译研究者的注意力导向了文化交流及在这种交流中起主体作用的译者。译者的这种主体作用可称之为创造性叛逆,具体体现为归化和异化的翻译方法。本文以杨宪益夫妇和大卫·霍克斯的《红楼梦》译本为例探讨译者在采取归化和异化时表现出的创造性叛逆的特点。 Previous studies of translation theory focused on the static contrast between the original text and the translated text. In recent years, comparative literature has translated the attention of translators into cultural exchanges and translators who play a major role in such exchanges. The translator’s main role can be described as creative treason, embodied in the domestication and alienation of translation methods. This article explores the characteristics of the translator’s creative rebellion when taking naturalization and alienation as an example, using the versions of A Dream of Red Mansions by Yang Hsien-yi and David Hawkes as examples.