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The translator made seventy-nine sentences explicit out of the 134-sentence source text, accounting for 59% of the total number of the source text sentences. The explicitation devices the translator applied consist of increasing the number of words, substituting with more specific words, changing personality, regrouping sentences and passages, transforming images and rhetoric devices, and so on. (3) Perego (2003), in his comparison of two Hungarian films and their Italian subtitles, found in a preliminary manner that in addition to implicitation, dialogue condensation and textual reduction, explicitation also occurred in film subtitling.

However, limited empirical research has been undertaken of the use of nominalization in translation, although there are several descriptive studies of its use in English such as Biber et al. (1999) and Wang (2003), and its use in translation among other languages such as Konsalova (2007). Finally, no corpus-based study of nominalization has been undertaken in relation to translator style, although considerable research has been undertaken to investigate a literary translator’s style. 1 This may be attributed to the fact ← 2 | 3 → that translation has been traditionally viewed as a derivative rather than a creative activity and due to the fact that the notion of style is very difficult to define even in established disciplines such as literary criticism and stylistics.

19 | 20 → (2) He (2003), in his comparative analysis of O. Henry’s The Last Leaf and its Chinese version, found that a remarkable tendency of explicitation occurred in the process of translating. The translator made seventy-nine sentences explicit out of the 134-sentence source text, accounting for 59% of the total number of the source text sentences. The explicitation devices the translator applied consist of increasing the number of words, substituting with more specific words, changing personality, regrouping sentences and passages, transforming images and rhetoric devices, and so on.